In the current lot, Wilhelm Sasnal reduces the images of soldiers to outlined topographical silhouettes with a pop-like or psychedelic sensibility. Appropriating imagery from the news media and then further removing the individual identity of the soldiers, he creates an eerie anonymity with the doubled distance from reality. “[Sasnal’s] paintings seem like after images, shadows of pictures. Singular moments are caught in memory, emblazon themselves on the mind, and perhaps interpolate themselves later in connection with other images. Sasnal uses the immediacy and multiplicity of painterly possibilities to open up a complex visual and tactile memory of a media world of luminous and glittering image surfaces,” (H. Rudolf Reust, “Wilhelm Sasnal: Kunsthalle Zurich,” ArtForum, NewYork, February, 2004).