Acrylic on canvas
Year 2021
Dimensions: 115 x 190 cm
4,400.00 € 0.04392 BTC
By gradually developing the typeface, Zeb One maintained the continuity of the creative work. He never followed art trends much, his personal opinion and inventiveness was gradually shaped by graffiti, the street art scene, but also by his admiration for the aesthetic quality of floor plans as we know them from urbanism and architecture. The pursuit of the purest possible form without gestural and emotional elements eventually logically anchored him in a geometric and abstract expression based on typography.
Dimensions | 115 × 190 cm |
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Artist |
1 in stock
Acrylic on canvas
Year 2021
Dimensions: 115 x 190 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.
After returning back to the Czech Republic, I still had a deep need to educate myself on this issue and find out as much information as possible. Based on this, the only possible outlet for me was painting where I had the opportunity to express some disagreement or perhaps draw some attention to the problem. Stories and compositions began to emerge of girls I portrayed as strong heroines or fragile girls who were getting a lot of unwanted attention. In the paintings I reduced the descriptiveness a lot, I didn't think it was important to portray very young girls realistically, and I emphasized color and symbols.
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.
Tomáš Tichý's paintings have long tracked the transformations of human sensitivity in a post-media (cross-media) environment and the digital age. His work responds to the flood of still and moving images that are consciously and subliminally becoming part of our lives, together rewriting the surface of reality and modelling a new plane of perception into which manipulative and levelling elements are automatically built. It traces the connection of new media with certain visual genres (fashion, sport, politics, consumerism) with the tendency to create attractive, visually memorable constellations (artificial paradises) and idols (celebrities). It measures and explores the relationship of the traditional hanging image to new stimuli that move, shift, and reshape the language of painting.
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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