In Ophelia’s Last Alco-Pop, Mona von Wittlage reimagines Shakespeare’s tragic heroine not as a figure drifting into mythic waters, but as a contemporary presence — her body reclining on the ground, one hand still clutching a bottle, a modern token of oblivion. Painted in blood and graphite, the figure merges fragility with stark immediacy, suspended between innocence and decay.

The lush foliage behind her recalls the poetic landscapes of Romantic painting, yet here the pastoral becomes unsettling, a witness to collapse. Blood, ephemeral and uncontainable, turns leisure into lament, echoing the tension between beauty and destruction.

This Ophelia does not simply drown; she is consumed by the contradictions of a world where desire and self-destruction intertwine. Her stillness is both elegy and mirror, confronting us with the fragile edge where life, pleasure, and mortality meet.