Inspired by Weimar bacchanalia, his most recent work, Voluptuous Panic (the title is taken from Mel Gordon's book on Weimar Berlin), invites the viewer to become part of the action. Understanding the importance of absence as well as presence in the deployment of his sculpted elements within a real space, Broich proves to be a master at orchestration and placement.
Spatially isolated through perspectival techniques, curious manipulated, cast characters populate the weirdly decadent environment. The choice of mannequins, empty, non-threatening 'everyone' figures is deliberate, its effect one of alienation.
Choreographed single and multiple groups of characters, seated or lying on the counter of a bar or nightclub, are enmeshed in an emotional confrontation with an unspecified narrative. At one end of the counter, a protagonist’s Siamese body curves back in spontaneous recoil. Each posture and gesture suggesting urgency and concern, tension and empathy. At the other end, a figure leans forward, as if wanting to move out of the drama, but its inability to move seems to frustrate the desire to act. All of the characters in Voluptuous Panic sustain a bland look. They stare into emptiness as they lean on enigmatic moments frozen in space and time, a singular, inexplicable silent moment.
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.jpg "The Girl Who Sold Her Soul To The Devil And Won")
-1.jpg "The Girl Who Sold Her Soul To The Devil And Won")
-2.jpg "Lara")
-3.jpg "voluptuous panic I")
-4.jpg "Lara's Teapot")
-5.jpg "brain connection")