Matt Hansel’s work (previously featured here) wrestles with the concept of the self and the human desire to be seen and remembered. He brings the Renaissance into the 21st century through image manipulation and decontextualization, combining the rigor of traditional European painting with the conceits of 20th century conceptual art.
Ben Mendelewicz‘s work is a sickly mix of collage and digital manipulation, with lurid colors and gross representations of everyday life. The New York-based illustrator draws comics, illustrates and animates for the likes of Adult Swim, Stussy and Funny or Die.
Matt Hansel brings the Renaissance into the 21st century through image manipulation and decontextualization. Hansel’s work wrestles with the concept of the self and the human desire to be seen and remembered. He combines the rigor of traditional European painting with the conceits of 20th century conceptual art.
The artist painstakingly recreates self-portraits of historically significant artists. Thinking of his works as re-enactments, Hansel juxtaposes past and present. By recreating the image of the artist who once was, Hansel attaches his own intentions to that of the artist. He duplicates, doubles, mirrors and inserts himself into the works. Using a mix of humor and pathos, Hansel asks us to recognize the way we see ourselves through others.
Filip Dujardin became interested in architectural photography because of the inherent sculptural qualities of building forms. With such purity of purpose, it seems logical that Dujardin began creating digital architectural sculptures of his own, unfettered by client whims, economic constraints or the laws of physics.
Though Dujardin’s photographs provide the building blocks for his work, the end result are fantastical, Photoshopped constructions depicting nonsensical or even impossible architecture.
Germany-based artist Josef Schulz uses subtle photo manipulation for a gorgeous effect. He does not aim at exposing this architecture in any way nor does he want to venture into a critical analysis of its appearance. He simply uses the photographs of the buildings to study the grammar of his trade.
Schulz starts by taking traditional photographs of the halls, storage facilites and industrial structures with large sized photographic plates. Using digital image processing, the analogue picture produced is then “cleansed” of the few remaining hints pointing to age, location or environment of the buildings.
All details that might possibly allow conclusions concerning the actual size, users, time or place of the buildings are completely removed. The physical reality of the buildings is changed in such a way that they seem to become virtual blueprints designed to perfection. Schulz focusses on colours and shapes reducing them to simple block-like structures. Particular emphasis is given to symmetries, colour contrasts and the overall structure of the image: they thus become dominant components of the picture. The buildings now ressemble toy architecture; they suddenly appear to be benign counterparts of themselves.