In his installation, Gran Paradiso, Sascha Brylla shows a battered replica of a natural landscape in a confined white-tiled display window. Brylla induces the methodology of the diorama, and stages the vandalism of a romantic landscape.
Traditionally the diorama serves to make human knowledge accessible to the beholder. With carefully arranged scenarios, the reality is usually illustrated in identical structures: individual segments are created and placed in front of a painted background to create a perspective illusion.
Brylla presents us a shattered shell of a constructed environment. Between assembled cardboard, wire and plaster, small traces of civilization can be found. In this diorama the gesture of destruction is immanent and it remains ambivalent in relation to what is shown. Whether through rationality, threat or emotion-driven reaction, in this scenery the rational mind was brought to aggressive action. As a result the artistic work questions the theoretical parallels between the romantic ideal and the status quo.
Gran Paradiso is a cultural-historical reference and critical questioning of an emotional world view. Utopian idea of desire being evoked and shattered at the same time.