abughraib.gif by lizvlx

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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 2].


Neural.it: 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 with?

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 decade.

* [F]originals: forged original documents; either forged or authentic documents, in any case original and unique.

Interview with Neural.it, Alessandro Ludovico, February 2005


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