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The nightmarish qualities of Grassmann's Untitled draw upon rich, visual sources from nineteenth-century Symbolism to Surrealism. Prints by artists such as Arnold Böcklin (1827-1901) and Alfred Kubin (1877-1959), for example, fused Romantic concerns…

The hybrid possibilities of man-as-animal and man-becoming-animal emerged out of historical Expressionism and Surrealism, with roots drawn partly from the horrors of the First World War. The echoes and permutations of these “monsters” appear in works…

"…I became interested in the superposition of the image, the representation of something over the thing itself, shadow on shadow, wrinkle on wrinkle."                                                                                             …