Wilhelm Sasnal review – his wild juxtapositions are almost obscene
Wilhelm Sasnal's latest exhibition at Sadie Coles HQ in London transforms the elegant gallery space into a thought-provoking display of fragmented realities. The Polish painter’s distinctive style masterfully mirrors the scattered attention and flattened perspective that define our social media-saturated age. From ordinary holiday snaps to disturbing scenes of atrocities, and from covers of Throbbing Gristle albums to casual depictions of backsides in shorts, Sasnal meticulously reproduces the visual cacophony of contemporary life.
The exhibition features a parade of jarring images: the Oval Office, a desolate forest, a stark tree trunk, intimate portraits of the artist's wife and daughter, members of a British post-punk band, and an unsettling portrayal of the former US president surrounded by associates, his face rendered with an intensity akin to a burn mark left by a lit cigarette on a photograph. Many of these paintings are untitled, their "broken" nature evident in the difficulty of tracing their original sources, much like encountering a dead online link. They deliberately resist forming a cohesive narrative, leaving viewers to grapple with the profound sense of disconnect.
One is compelled to question the threads that might link a "revolting" White House interior, depicted in "acid greens and faecal browns," with an eerie forest scene. Similarly, the connection between a prominent political figure and the pioneers of industrial music remains ambiguous, highlighting Sasnal's skill in creating provocative juxtapositions that challenge conventional interpretations and evoke an almost unsettling, "obscene" sense of modern consciousness.
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