Screen printing, tarpaulin and rope on aluminum panel
130 x 100 cm I 51 x 39 inches
Peter Klasen is a German painter, photographer and sculptor, born in Lübeck in 1935.
A master of contrasts, he is fascinated by the hostility of the modern city and by representations of the body as a commodity.
From 1956 to 1959, Peter Klasen studied at the School of Fine Arts in Berlin, then an avant-garde school. In 1959, winner of the German Industry Patronage Prize, he obtained a scholarship and settled in Paris.
Peter Klasen is, in the 60s, one of the founders of the artistic movement called New Figuration or Figuration Narrative. Then he developed a personal visual language: he explored and reinterpreted the signs of our urban environment and, more generally, of our society. He is interested in images exploited by the mass media and denounces, through his pictorial metaphors, the standardization of the Western living environment.
In the 1970s, Peter Klasen finally found success. He paints his “binary paintings”, based on the opposite representation of a fragment of a human body and an object, painted or integrated, revealing his anguish in the face of the split of the worlds of “being” and “having it”. “. He thus finds a balance between what is sensual, and seems pleasant to him, and what belongs to the industrial world, which he finds repugnant.
Porsche type 930
2022, Polished stainless steel base, gray stainless steel fuselage
24 × 85 × 38 cm | 9 2/5 × 33 1/2 × 15 in
Edition de 8
2020, Stainless steel plates and aluminum base
19 × 80 × 36 cm |7 1/2 × 31 1/2 × 14 1/5 in
Edition de 8
| ANTOINE DUFILHO |
It is by being aware of his roots that a man can grow. Antoine Dufilho knows them, his roots, which plunge into art and medicine. His work proves it.
As a child, Antoine Dufilho learned about the visual arts with his great-uncle, actor, painter and sculptor. Later, studying medicine allowed him to discover and dissect the complexity of human biomechanics. Architectural studies then led him to a new approach to sculpture, in particular to the work of the framework, which once laid bare reveals a succession of full and empty, bringing lightness and dynamism to the general form. .
Antoine Dufilho is self-taught, he experiments with different techniques such as molding and welding to gradually build the aesthetics of his art around this DNA that characterizes him; he began to devote himself fully to it in 2012.
His work consists in exposing an alternation of full and empty, materializing a skeleton, breaking down the shapes into successive layers. A movement is created by this sequenced representation. It is therefore a kinetic vision of a static object that the artist offers us, in particular thanks to the wandering of his observer, which allows a different interpretation depending on his point of observation. The dynamic effect is accentuated by an alternation of symmetries and asymmetries, causing an acceleration or deceleration effect.
DISCARD THE FIGURATIVE
The artist is moving forward and intends to advance his art with him, now freeing himself from the figurative, thanks to the abstract.
In fact, abstract art does without a model, only aesthetics and creativity count. It is therefore a new step for Antoine Dupilho, who used his passion for the automobile and his knowledge of architecture to learn sculpture, different techniques, to put into practice different concepts, and more generally, discover his style. He now wishes to apply his work on the representation of movement and lightness in the abstract, which will allow him to go even further in his art.
In his new creations, Antoine Dufilho offers us an optical illusion, furtively revealing the balance of a cube, to the vagaries of the movement of metallic hands.
Joy ‘was born in Martigues, France in 1981. From an early age, she has been drawn to art and creation. She studied fashion design and saw her work winning numerous awards and exhibiting in various places. After a few years as a fashion designer and stylist, seeing her products sold by the biggest brands, she decided to devote herself to art, her true passion.
Joy ‘reappropriates the can, product and universal symbol of our society, to sculpt it in bronze, dress it in bright colors and multiply references to Pop Art and rock culture. It is one of the most recognizable objects in the world. The can is present on every continent, in every house, in every hand, all generations, social classes, religions combined. The goal is always the same: to drink it and empty it. But when it is empty, crumpled and folded, it continues to exist. Joy ‘invites us to look at this omnipresent object in our daily life from an artistic point of view. Between Pop Art and New Realism, the Popy Can is a link between everyone because everyone can identify with it.
The can becomes POPY CAN terribly alluring and happy work of art.
Vinzarth began to develop a passion for photography in the early 1980s. He specialized in the field of architecture and decoration. For ten years, a new universe opened up to him where he discovered and showcased buildings in spaces and landscapes modified by man according to precise and functional criteria.
Nostalgic for the continent, Vinzarth returns to France, under the sun of a small village near Monaco. During an exhibition, he discovers a painting from an inverted perspective. It was the click that made him want to create anamorphoses from his photos.
After a year of research on camera angles, subjects, digital computer graphics, editing and stitching, the first photographic anamorphoses become real. Attracted, initially, by the buildings and facades of towns, Vinzarth “anamorphoses” the art deco and Haussmannian districts of Nice. He will then work on aesthetic concepts such as the La Défense district in Paris, then on monuments such as the Louvre pyramid.
The desire to move away from reality and give free rein to his imagination now pushes him to create his own landscapes, in 3D, using colors, soils, materials of reality. Vinzarth revisits the urban landscape to create imaginary neighborhoods.
“My painting is realistic or even hyperrealistic, most often with iconographic inclusions of automobiles that I put in all possible states and situations. Before starting to paint I examine variables as to the nature of the subjects painted, the shape of the main subject and its place within the painting. Each element in the frame has been considered and finally adopted for the space it occupies in relation to other elements already in place. ” – Marcello