The large-scale painting Sonntag is part of Max Brenners series Doomscrolling, which investigates the impact of digital image cultures and the overwhelming circulation of visual information. The composition is constructed as a dense hand-drawn collage based on image research from the internet. Found imagery is traced, altered, and recombined into a sprawling amusement park that unfolds as a “Where’s Waldo”-like field of simultaneous micro-narratives.

The park appears saturated with attractions, artificial thrills, and spectacles of controlled danger. Yet beneath this surface of entertainment subtle signs of decay become visible: rides deteriorate while still in use, natural forces threaten the infrastructure, and moments of crisis emerge across the image. Both the visitors within the scene and the viewer are initially distracted by the abundance of visual stimuli.

By staging this overload, Sonntag reflects on a contemporary condition in which entertainment, consumption, and spectacle obscure the perception of real threats. The work questions why societies invest immense resources in machines designed to simulate fear and adrenaline while ignoring the crises already present within their environment. In this sense, the painting becomes an allegory of hedonism, material excess and distraction in the age of endless scrolling.