IRRLÆUFER

The linocut Pemphredo, Enyo and Deino – or “Venite Adoremus” by IRRLÆUFER is a dense, multilayered reinterpretation of Albrecht Dürer’s The Four Witches. The artist clearly draws upon Dürer’s composition—in posture, carving technique, and the sculptural quality of the figures—yet transforms the historical motif into a uniquely contemporary and charged visual language.

The three women, named after the Graeae of Greek mythology—ancient beings dwelling between life, death, and fate—stand in tense proximity. They are neither witches nor Graces, but something in between: embodiments of female presence beyond fixed roles. The skulls at their feet point to mortality, but the true center of the image lies in the uncompromising physicality of the bodies.

Of particular note: one of the women turns directly toward the viewer. Her gaze is steady—not inviting, but piercing—as if she is exposing the act of looking itself. The viewer becomes the voyeur, drawn into the image and complicit in its quiet confrontation.

The title “Venite Adoremus“—”Come, let us adore”—is not a sacred invocation. It refers not to the divine, but to the admiration of womanhood as form, as force, as a mirror of desire. IRRLÆUFER transforms Dürer’s legacy into a timeless reflection on beauty, power, and the gaze.

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