Adlerperspektive auf Glückseligkeit

Adlerperspektive auf Glückseligkeit approaches happiness through a shift in scale and viewpoint. The relief-like surface suggests a landscape seen from above: ridges, cavities and metallic formations gather into a terrain whose boundaries remain open and unstable.

The work moves continuously between image and object. Raised material catches the light, while passages of ochre, gold, blue and green appear to recede beneath the surface. From a distance, these elements begin to form a topography; at close range, that apparent overview dissolves into individual deposits, fractures and traces of the working process.

The title does not present happiness as a fixed destination. Instead, it proposes a way of seeing: distance can create orientation, yet every larger perspective remains composed of dense and contradictory details. Overview and immersion therefore coexist within the same surface.

Within Marlon Nikolai’s practice, this movement between macrocosm and microcosm is fundamental. Adlerperspektive auf Glückseligkeit allows the viewer to move between both positions — looking across an expansive field while repeatedly being drawn back into its material depth.