The canvas versions of HYDRA translate the dense visual structure of the original relief into textile screen print and painting. Each work exists as a unique color variation, combining multiple printed and painted layers into a complex network of more than 140 interwoven motifs and sequences derived from the digital world. Brenner employs deliberate content overload, making seeing and observation a challenge.

Formally and conceptually, HYDRA draws on different moments in art history. Its abstract, bat-like silhouette and unsettling imagery echo Goya’s The Sleep of Reason Produces Monsters, while its densely populated, almost inexhaustible visual worlds recall Bosch. Industrial methods of reproduction, repetition, and intense color reference the strategies of Pop Art and Warhol, while the transformation of countless individual scenes into a second, overarching image follows the logic of Salvador Dalí’s double images.

These references converge in a contemporary visual language shaped by digital circulation and information overload. Fragment and whole, attraction and threat, recognition and confusion continuously compete for attention, allowing HYDRA to expand beyond a single image into an interconnected and potentially endless visual network.