III. Hurensöhne

Hurensöhne turns toward Germany’s National Socialist inheritance through portraits, grotesque figuration, satire, and vulgarity. Rather than reconstructing historical events, the cycle performs an autopsy of genealogical inheritance, examining how Nazism survives through memory, language, family histories, and cultural residues. The works reject heroic distance, positioning the painter within the historical continuum rather than outside it as a commentator.