A side view of a woman giving birth in steel. The artificial figure appears to be constructed from steel girders. Columns of soldiers march out of her womb in rows. They are also transported out of the womb on conveyor belts. The iron substructure made of metal plates, together with the mechanical mother, reinforces the impression of a production machine. In the foreground, many bright crosses can be seen, as we know them from military cemeteries. The digital compositions of the picture series are kept in golden, metallic tones. A variety of lights can be seen in the background.
‘Tranche 0124 on Assembly Lines, Perspective A’ from the fourth picture series ‘Infinite Rebirth of Madness’ /// 2024 / Digital painting/compositing / Exposed on Fujiflex photographic paper / Limited edition: 3 + AP / 13,287 pixels (H) ∙ 23,622 pixels (W) / 44,3″ (H) ∙ 78,8″ (W) / Handwritten titled, signed and dated with the year.
The oblique view from the front shows the soldiers marching in rows as they reach the end of the conveyor belts, descend to their doom and disappear into the ground.
‘Tranche 0124 on Assembly Lines, Perspective B’ from the fourth picture series ‘Infinite Rebirth of Madness’ /// 2024 / Digital painting/compositing / Exposed on Fujiflex photographic paper / Limited edition: 3 + AP / 13,287 pixels (H) ∙ 23,622 pixels (W) / 44,3″ (H) ∙ 78,8″ (W) / Handwritten titled, signed and dated with the year.
From an aerial perspective, you have an overview of the entire soldier-birthing machine.
‘Tranche 0124 on Assembly Lines, Perspective C’ from the fourth picture series ‘Infinite Rebirth of Madness’ /// 2024 / Digital painting/compositing / Exposed on Fujiflex photographic paper / Limited edition: 3 + AP / 13,287 pixels (H) ∙ 23,622 pixels (W) / 44,3″ (H) ∙ 78,8″ (W) / Handwritten titled, signed and dated with the year.
The close-up view of the rows of soldiers shows the always same metallic faces, uniforms and equipment.
‘Tranche 0124 on Assembly Lines, Perspective D’ from the fourth picture series ‘Infinite Rebirth of Madness’ /// 2024 / Digital painting/compositing / Exposed on Fujiflex photographic paper / Limited edition: 3 + AP / 13,287 pixels (H) ∙ 23,622 pixels (W) / 44,3″ (H) ∙ 78,8″ (W) / Handwritten titled, signed and dated with the year.
Arriving at the edge of the conveyor belts, the direction of march changes downwards. The front view of the soldiers indicates the fall.
‘Tranche 0124 on Assembly Lines, Perspective E’ from the fourth picture series ‘Infinite Rebirth of Madness’ /// 2024 / Digital painting/compositing / Exposed on Fujiflex photographic paper / Limited edition: 3 + AP / 13,287 pixels (H) ∙ 23,622 pixels (W) / 44,3″ (H) ∙ 78,8″ (W) / Handwritten titled, signed and dated with the year.
The oblique view shows the rows of soldiers as they are produced from the belly of the birthing woman's steel skeleton.
‘Tranche 0124 on Assembly Lines, Perspective F’ from the fourth picture series ‘Infinite Rebirth of Madness’ /// 2024 / Digital painting/compositing / Exposed on Fujiflex photographic paper / Limited edition: 3 + AP / 13,287 pixels (H) ∙ 23,622 pixels (W) / 44,3″ (H) ∙ 78,8″ (W) / Handwritten titled, signed and dated with the year.
The long shot from the air visualizes the mother's perspective of the birth process. The burial ground of the military cemetery expands.
‘Tranche 0124 on Assembly Lines, Perspective G’ from the fourth picture series ‘Infinite Rebirth of Madness’ /// 2024 / Digital painting/compositing / Exposed on Fujiflex photographic paper / Limited edition: 3 + AP / 13,287 pixels (H) ∙ 23,622 pixels (W) / 44,3″ (H) ∙ 78,8″ (W) / Handwritten titled, signed and dated with the year.

‘Infinite Rebirth of Madness IV’

Digital Art

Original human work, created without artificial intelligence.
This work is protected by copyright in all its parts.
© 2023 by Heinz Hermann Maria Hoppe. All rights reserved.
Color and tone value representations on monitors deviate from the original.

The larger image section shows the fine textures of the composition.
Image details from the digital painting ‘Tranche 0124 on Assembly Lines, Perspective G’
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