View In A Room
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VIEW IN MY ROOM
VIEW IN MY ROOM
After a larger art project in 1989, with an extensive sponsorship along with patronage from UNESCO head office in Paris, I came to the conclusion that if I should continue to develop myself as an artist freely, then I had to end all my contact with gallery owners and art curators. Reason for this is that the art industry is no longer patrons of art, but more like pimps for artists where the primary goal is to generate income for their own industry. Well, it's more many-facetted than I can explain in a short presentation of one painting. For those who want to know more, I have found especially two books that brilliantly demonstrate my point. First, it's Tom Wolfe's "The Painted Word" and David Balzer's "Curationism - How Curating Took Over the Art World and Everything Else". In this painting, I made a version of Braque's painting "Houses at Estaque" with three curators blocking the sight to the artwork. Yes, the curators are standing in front of the painting so you are not able to see the artwork. That's the art-industry of today as I see it - sad, but unfortunately true.
Painting:Acrylic on Paper
Size:59.1 W x 39.4 H x 0 D in
Packaging:Ships Rolled in a Tube
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
From international artprojects, one-man shows, group exhibitions and as a curator for a artist led gallery - I moved away from the western art scene. Lived in a country with five thousand years of art history, and with contemporary egyptian artists for nearly fourteen years. Today my art is less an reaction, and more an interaction. *********MY_ART_STYLe**************** My first exhibitions was very much part "the New Wild", an art expression today often defined as neo-expressionism. Still, I was part of performance art projects, and an art critic once said that I "use figuartion as an excuse to paint abstract" - and yes, that's pretty true as well. *********DEVELOPING_MY_ARt******** Apart from working in the wave of "Heftiges Maleri", performance as curating, I have never used photo in my artworks, but included photographers in my art projects. My take on photography has been from documenting polaroid photos with their frames on canvas, to the painted serial "unsuccessful family photos". After this serial I did a number of paintings (on canvas) where one of the main focus was to cut a motive so much that the viewer had to imagine what was outside the frame. *********POST_ANALOG_ARt************ Most of my time the last ten years had been to develop and personalise an "post analog" art expression. "Post analog" is normally what's called digital painting and drawing, and it's first of all a tool. Still those who have been working in oil on canvas, have to learn a new way to work to get the best out of acrylic paintings (- and vice versa). It's no difference with digital art, as one can't take the experience of analog painting (as painting on canvas) directly over to post analog media. I still have the same way I express myself through art, but it took a many, many years before I could say that I was able to create art as freely in a post analog media as I did in my studio on canvas. *********DIGISEED_ARt*************** After having found the new post analog tools I had to create a new way to make sure the buyer of post analog art could become the owner of the digital file, and not only what is made from this file. This is what I call DigiSeed, and this information can be found here: http://digiseed.org
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