Glass, Neon, Metal
Year 2021
Dimensions: 60 x 60 cm
2,450.00 € 0.02573 BTC
Prefabricated lighting objects and installations with an emphasis on industrial look; on the one hand an almost purist's purity of forms at times, with a dystopian and sometimes almost cyberpunk aesthetic and unexpected DIY-style on the other. His thoughtful design concept is mixed with intuition, with processes based on controlled chance and spontaneous interventions. He treats light as a colour, but he doesn't shy away from it and uses it in an almost action-like way - prints, dripping, slashes. He has a fondness for neon and old industrial components, whether they are light boxes, tubes of fluorescent lamps, or elements of factory furnishings. The combination of these serves not only to effectively shape his work, but above all to emotionally transform reality and its experience.
| Dimensions | 60 × 60 cm |
|---|---|
| Artist |
1 in stock
Glass, Neon, Metal
Year 2021
Dimensions: 60 x 60 cm
Aleš Brázdil's painting is characterised not only by a sense of illusiveness of expression, but also by the presence of a certain visual irritation. The artist puts his ability to transform what is seen or seen into a state of dynamic, rearranged matter that can be freely shaped, manipulated, and bent into an exploration of the analogical world of reproduced recordings with which the static medium of classical and digital photography and the configurable temporal media of video, film, digital recording, and documentary work.
The key to Jan Soumar's paintings is Back into the Reality (2021). Here, reality is its own substance for visual and semantic reassessment. The artist paints from memory fragments of figures and landscape passages, which he collages into a single format together with modernist innovations that replace the clarity of illusory space and transform it into an abstract, sensual or, to use contemporary language, experiential environment.
Prefabricated lighting objects and installations with an emphasis on industrial look; on the one hand an almost purist's purity of forms at times, with a dystopian and sometimes almost cyberpunk aesthetic and unexpected DIY-style on the other. His thoughtful design concept is mixed with intuition, with processes based on controlled chance and spontaneous interventions. He treats light as a colour, but he doesn't shy away from it and uses it in an almost action-like way - prints, dripping, slashes. He has a fondness for neon and old industrial components, whether they are light boxes, tubes of fluorescent lamps, or elements of factory furnishings. The combination of these serves not only to effectively shape his work, but above all to emotionally transform reality and its experience.
Aleš Brázdil's painting is characterised not only by a sense of illusiveness of expression, but also by the presence of a certain visual irritation. The artist puts his ability to transform what is seen or seen into a state of dynamic, rearranged matter that can be freely shaped, manipulated, and bent into an exploration of the analogical world of reproduced recordings with which the static medium of classical and digital photography and the configurable temporal media of video, film, digital recording, and documentary work.
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