Through her conceptual approach to painting, Brätsch addresses questions concerning presentation form, distribution and the attribution of meaning to images, and explores ideas about authenticity and the fields of production associated with the genre. The work Ugolino is based on Agnolo Bronzino’s manneristic portrait of Ugolino Martelli of 1536. In Bronzino’s portrait, the Florentine aristocrat is presented wearing a dark belted gown. He holds a book by Pietro Bembo, a 16th century cardinal and humanist scholar, in his left hand and his right index finger points to an open page of Book IX of Homer’s Illiad.
Brätsch adopts the formal language of Bronzino’s painting and processes it digitally by applying a digital wood structure to Ugolino’s head. In this way, she links art history with the possibilities offered by contemporary digital processing – history as assemblage, so to speak.