2004, Series of 6, 80x60xcm, Oil on canvas
2004, Series of 6, 80x60cm, Ink on canvas, signed Edition of 6
2005, Series of 6, 240x180cm, Ink on canvas, signed Edition of 2
Originally taken from a digital press picture. Digitally manipulated
[pixelated, colors]. Then painted oil on canvas [product 1].
These original paintings are then digitally photographed, digitally
tuned [colors, contrast] and printed ink on canvas [product
One of your latest art experiment is the 'Processual PixelPainting'
series, performances where a human carefully reproduce digital
pictures painting them pixel by pixel. This sort of 'human-printer'
describes a digital process in a physical and atavic art practice
(painting). There's any reference to the history of art here
and on how the art system still needs renewed objects to deal
lizvlx: pixelpaintings show objects/scenes
that are either present only in the virtual world (.com shopping
carts) or scenes that have taken place in reality, but have
been perceived primarily virtually (9-11, abu ghraib). so the
question was how to portray something that does not exist really,
how to give real life to objects that only live on-screen. a
mere print-out would not have done the job, as print-outs are
nothing but consumable throw-away objects without a "soul".
paintings on the other hand carry this uniqueness and timelessness
with them. to me, they are in fact objects with a "soul".
so painting the virtual makes it become real. references to
concepts in art history can be seen in the nature of the paintings,
i.e. they depict (virtual) objects, they are stilllives, they
portray (virtual) scenes, they are landscapes, pixel landscapes.
Hans Bernhard: This ubermorgen "product
line" is a strategic combination of New Code [technical
/ digital actionism] and Old Code [human / painting] with a
simple goal: infiltrating the art market. There are 3 types
of pixelpaintings. 1. Sucking light out of the white [destilling
light invisible to the human eye from a white canvas and turning
it into abstract pixel compositions on canvas], 2. Iconographic
/ Logos and 3. Landscapes. There is not exactly a conscious
reference to art history but a working method of how the art
system can incorporate the structure and historical supercharging
of the painting itself with the radical and acute knowledge
and experience of the children of the 1980s - the first productive
internet generation investigating the need for digital art.
Over the years a broad spectrum of works materialized from the
etoy and ubermorgen digital actions into videos, paintings,
[F]originals*, lectures, performances, documentary material,
etc.. The pixelpainting is a subversive application of digital
images. We are living in a hyperphysical world, and at the same
time the digital revolution is constantly updating and expanding
fully medialized environments. But like the paperless office
brought us 1000% more paper over the last 10 years, digital
art will bring us 1000% more physical objects over the next
* [F]originals: forged original documents; either
forged or authentic documents, in any case original and unique.
with Neural.it, Alessandro Ludovico, February 2005