Using the richly tonal method of copperplate heliogravure etching, In Am Anfang Kommen II & III the Chapman Brothers have constructed a discontinuous scene from densely interwoven and overlaid image fragments.
Beginning with illustrations from children's colouring books and dot-to-dot books, these etching share a suggestion of a normative, safe modeling of reality for unformed minds with a twist. Having established this patently non-expressive, anit-autobiographical starting point they then collaged, reassembled and mirrored the fragments and reacted to them until arriving at a weighty, complex, near abstract and pointedly unresolved entanglement of forms that hint at narrative, but more closely resemble an abyss.
The Chapman brothers have been working together since the early 1990s. Their art is deliberately confrontational, engaging with such inflammatory subjects and Nazism, the holocaust and religion, while it exploits an aesthetic of obscenity and horror. They appropriate elements from the history of art and philosophical and sociological theory to produce a body of work that derives much of its power from being politically and morally ambiguous, wilfully resisting straightforward interpretation.