2004/05, various materials, sandblasted glass, 90×70 cm Ballistic Reliefs – The Anatomy of the Shot In the triptych “Ballistic Reliefs,” hunting weapons, targets, and projectiles are transformed into an aesthetic order that reproduces neither the romance of hunting nor the cult of trophies, but rather dissects violence itself. These are not tales of heroism, but silent records of a process that unfolds in the tension between technology, power, and ethics. The rifle is not a tool, but a cipher. Its mechanics are on display as part of an anatomical teaching model that is aimed less at hunters than at viewers. The path of the bullet—visualized by a movable tube system—resembles a mental loop: the ballistic movement becomes a figure of reflection. The shot loses its linearity and becomes the trace of a decision. Along this trail, the hunting target appears – sometimes as a stylized animal carcass, sometimes as a fragment, a piece of fur, an abstracted skull, embedded in glass tubes, trophy elements, or measuring instruments. These are not depictions of sacrifice in the classical sense, but rather fragments of a disturbed relationship: between humans and animals, subject and object, culture and nature. These object compositions are overlaid with fragments of text sandblasted onto the glass: forms, evaluation criteria, terminology from trophy shows. The language seems frozen—neither fully legible nor sensually tangible. It hangs in the room like a bureaucratic veil over the dead animal. The text serves not to enlighten, but to expose—it reveals how rationalized speech veils violence. What these reliefs reveal is not the act of hunting, but its cultural coding. Killing is already embedded in language, technique, ritual. The work frames not the event, but the system behind it. Dr. Pelle Solus

Sketches for BALLISTIC RELIEFS, 2004/05, pencil on paper, each 29.7x21cm