In the early 1990s, video was a fresh technique that was not dominated by the long shadow of painting history. For Undine Goldberg, this shortcut to an independent expression was a logical choice – until the early 2000s, when she greatly missed the tranquillity of the studio and working with paint and brushes and returned to painting.
Disguise and art history are central motifs in Undine Goldberg’s latest horse paintings: photos of carnival horse costumes for two people and horses from paintings by Velázquez, Géricault and Stubbs serve as inspiration for Goldberg.