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This work is a radical reduction of Robert Capa’s Falling Soldier. The original photograph froze a split second in which a man becomes an image of death; for decades, the figure functioned as an anonymous symbol of war. The later identification of the soldier as Federico Borrell García introduces a crucial fracture: the icon regains a name, but not a life.
By stripping the figure to a white silhouette against a neutral ground, the work removes photographic… detail and historical context. What remains is the gesture of collapse. The red elements do not describe violence; they punctuate it.
The image thus exposes a paradox: naming the soldier restores individuality, yet abstraction confirms his disappearance. The work is not about the moment of death, but about how images turn human beings into enduring symbols—and how even truth, once revealed, cannot reverse that transformation
available : 1 framed, 4 on paper
Herman Van Synghel, a seasoned printmaker with a background in graphic design and extensive experience in teaching, employs etching, screen printing, and linocut as his primary mediums. His works unfold through a rigorous, minimalist vocabulary, foregrounding geometric forms—circles, squares, black fields—explored with a conceptual exactitude that tests the delicate tension between structure and intuition. Through symbolic reduction and poetic imagery, he evokes profound meditations on memory, time, and the dualities of existence, inviting viewers into a state of presence and contemplation rather than immediate interpretation.