Andreas Golder cannibalizes the history of art, filtering it through the lenses of nightlife and pop culture to create nihilistic figural paintings dealing with the medium’s “eternal subjects”—love, decay, and the circle of life. The Berlin artist creates monstrous characters that call to mind the work of Francis Bacon—grotesques painted in his signature pink that combine notes of Rembrandt, Rubens, Manet, and Matisse with a slaughterhouse sensibility. He works with a soundtrack of death metal music or Baroque opera to find a place of meditation as he paints portraits of his friends and himself, often in images that question his role within the continuum of art history. Such sinister forms are also present in his sculptures, which he calls memorials to the lowest classes.