Charles Booth-Clibborn approached Corinne Wasmuht in 2007 with a view to working together on a project. Wasmuht was intrigued by the prospect of exploring a new medium, as she had not done any printmaking before. Initially, the idea was to publish a group of prints as a portfolio, but due to time constraints (she was engaged in teaching at the Academy in Karlsruhe) she decided to collaborate on a single screenprint instead. Her screenprint is based on a painting of the same subject in the Saatchi collection in London. The painting, Siempre es Hoy, in oil on wood, is on a monumental scale, measuring just less than three metres in height and over four metres in width. Wasmuht provided Brad Faine at Coriander Studios with a digital file of the painting from which to produce the screens for printing. All in all 27 screens, each for a different colour, were made through colour separation. An additional screen was used to print a final layer of glazing. The screenprint, like the painting, is heavily layered.
To begin with, Wasmuht develops each of her works on the computer from a collage of different photographic material, tapping into her large archive of photographs as a source of inspiration. The digital templates are then used as a guide for her highly complex paintings. In S.O.H. only a few fragments are quasi-legible; to the left, two figures seated at a table emerge from a psychedelic hurly-burly of colours and shapes. The energetic driving-force of the composition is provided by the two horizontal lines that converge from left to right, like skid marks of a car that has just sped past. For all the cloud-like texture of the foreground, they could just as well be the con trail of a jet engine. Wasmuht abandons all logic of perspective, confronting us instead with an imploded and fragmented urban landscape. S.O.H. oscillates between figuration and abstraction. Its many strata offer glimpses of reality submerged in colour and impossible to decipher. Wasmuht has created an exuberant fantasy world; a metaphor for the information overload of our age.