In Burg, Tilo Baumgartel’s rough-hewn paint
application conveys a romantic brutality. Half medieval
village, half WW2 bunker, Baumgartel’s setting becomes
an intrigue of abstracted construction: repetitive shapes,
flat planes, and mottled brushwork churn in heightened suspense.
In the bottom left corner, a masked figure creeps into the
compound, oblivious to the network of comic pink explosives.
Baumgartel creates tension through a double perspective:
the illicit action viewed under the watchful gaze of a sleeping
gargoyle is closely monitored by the viewers’ presence.

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