Natural Hazards refers natural disasters.
In this early cycle, Jacques Gassmann for the first time turns to a comprehensive perspective. He chooses the sections of his paintings from a great distance, sometimes with a stellar tendency. The landscape becomes a continent, a surface of the earth. In this vastness, these images possess a microscopic view through the solution of the image in his ink technique, even if Ogrody was not yet invented at that time. This cycle is to be understood as a precursor for Gassmann’s important and subsequent cycle of paintings on the apocalypse.
“Natural Hazards” opens up the artistic possibility for him with the juxtaposition of man and nature, viewer and painting. In this way he places the human dimensions in context with the natural dimensions of natural phenomena.