In Wanderer of Berlin, Mona von Wittlage transposes Caspar David Friedrich’s Romantic hero from a misty mountain ridge to the steel and concrete of a modern city. The lone figure, painted in blood, stands on a bridge overlooking railway tracks, trains and wires stretching into the distance. His stance recalls the sublime solitude of Friedrich’s original wanderer, yet here the fog has been replaced by urban sprawl — a new landscape of speed, noise, and transience.

Blood anchors the body in fragility, contrasting with the cool graphite lines of the city that surrounds him. The work questions whether the modern wanderer can still find transcendence, or whether the sublime has shifted from nature to the restless movement of the metropolis.

Wanderer of Berlin is at once homage and critique: a meditation on solitude, modernity, and the human search for meaning amid the endless flow of contemporary life.