Mariele Neudecker uses a broad range of media, including sculpture, film, and sound. Her practice investigates the formation and historical dissemination of cultural constructs around natural and technological worlds and notions of a Contemporary Sublime. Neudecker often reproduces a heightened landscape experience, addressing the subjective and mediated condition of any first-hand encounter.
Shipwreck, 2002 addresses the subject of landscape, its representation through art history, and our subjective interpretation of it. Neudecker’s interest in landscape and nature has been influenced by the artistic, philosophical, historical, and political dimensions of the Romantic Sublime, as represented by the Northern European landscape painting of the 19th century. Paintings by Schinkel, Friedrich, Dahl, among others, have been a strong influence on Neudecker’s practice, the point of departure of which is the idea of reproducing an experience of a given reality through the means of depiction and simulation. Part of an ongoing series of tank sculptures, Neudecker isolates spatio-temporals block, in this case, an imaginary landscape, to address the principles and the threshold of temporary illusion, determining the cognitive process tied to the perception of a simulacra. With deliberate disregard to space and time, the work stands still between the temporary illusion of reality and the reproduction and (miss) placement of its parts.