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Roland CAMM-1 GR Series vinyl cutter (Large Format).
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Perhaps any attempt at an answer would be insufficient to the presumption of such a bold and reductive question. The exhibition’s title thus becomes as much an imprecation as a rhetorical question.

Wulff’s clown is, at once, old friend, old nemesis, and alter ego, frozen in highly specific moments, yet also imbued with an intense kinetic potential as he fixes his gaze on the indeterminate distance just beyond the frame of the image. Yet to refer to the works of Wo soll das noch hinführen as strictly “biographical” is to subordinate them to a narrative imperative that belies their openness, omnivorous points of reference, as well as the gestures toward universality with which Wulff seeks to infuse his compositions. The grounds of the new works contrast sharply with the smooth, monochrome backdrops that characterize much of Wulff’s recent period of abstraction, suggesting a greater formal and psychic tension informs the paintings. The works of Wo soll das noch hinführen position this figure against a stylized, magnified shadow of himself which evokes the rich intellectual and emotional dynamics of Wulff’s own engagement with the character. Having recently reintroduced figuration to his work after a period of delicately rendered abstract painting, Wulff also reengages with a clown-like figure who originally appeared on his canvases during his earlier figurative period.
