221019613112's Page

Member type

Artist

If you're an artist, what kind of art do you make?

Conceptual, Drawing, Installation, Painting

I am...

unknown

It is my conviction that the overall popular demand for visibility has the consequence that what can’t be visualized doesn’t count or at best: becomes problematic. On the other hand opens the invisibleness of certain things a source of potentials. In regard to my artistic identity I choose for the latter because the anonymity serves me best, my personal story and desires shouldn’t be considered in the perception of my work. In this way it is difficult to characterize my artistic practice and by this I gain freedom; because expectations in regard to my work can only originate from the works itself and not from the common beliefs regarding artistic practices.
Therefore I consciously detached my practice of contemporary visualizing strategies and management-like attitudes. The unpronounceablility of my artistic identity underscores the deviation of common beliefs, expressing the status of ‘being-an-artist’ as something indefinable, as something that shouldn’t be confined, but gives way to dream time. This principle makes it easier to adopt new or unexpected positions that challenges the changes of our world.
In the pluralistic interpretation of artistic identity it is liberating to think and act from within this indefiniteness, because the ego in this type of artistic practice is not the point of reference, and so is not restricted. Nevertheless this pseudonym implicitly advocates a systematic point of reference, but the difference is that the obtained systematic is used to refer to an organic substance that always will have potentiality running through it’s system.

About my artwork

The fundament of #221019613112’s artistic practice rests on the opposition between fixation and dynamic, between determination and indefiniteness, shortly: being versus becoming.
Images are, humans become. The interaction between both, more accurate the influence of stagnant images on agile psyches is what defined #221019613112’s early practice. The underlying idea is that an image is capable, because of its fixated character, to effect humans, which identities are fluid and dynamic, with tautological patterns. These imago-driven patterns have the potential to function as a discipline-machine in the same way like a society does on a macro level. They robe humans of their mental freedom of movement and through this they discipline the soul by hedging in the body in a mental prison. An image will, no matter if it is mentally or physically, always be a settled determination. The act of thinking makes use of mental images or propositions that, although they are part of a logic spacial-temporal structure, still are compulsory stops or moments of that structure. As isolated ideas or mental images they constitute our frame of mind, choices, desires, assumptions, prejudices, opinions, representations, daily decisions, motives of behaviour and action. Even in its physical form an image is motionless, a movie is nothing more than a chain of fixed images producing the illusion of movement.
Here we need to underline the fact that a painting as well as a drawing receives a different statute in opposition to mechanically reproducible images. Mainly because paintings and drawings are developed in a series of moments, mimetic or not, they will be interpreted as constructions. On the other hand mechanical images can represent their reference in a more direct, immediate way, nevertheless is what appears not actually present. Mechanical images lean, due to their medium specifications, closer towards ‘truth’ and by this can generate evidence that seems to coincide with reality.
This led #221019613112 to the examination of the rhetoric principles of persuasive images, in particularly the way they put humans in motion through their testimony of seemingly realizable realities.
In this first faze #221019613112 focused on the translation process from persuasive images, per definition multiplied images, into a unique, figurative painting. In his series Individuals the socializing and disciplining functions of the persuasive image is exposed through the choice of media (reflective lacquer oilcloth canvas and liquitex on a large scale), the painting technique (hasty, direct with an explicit tactility) and the rendering (intensive artificial colours, unnatural mimesis, lipless, hollow eyes, sewed over faces and the use of a consistent Gestalt). The series Borders of Discipline focused on the composition of different types of images and how the singular meanings ignite, interfere and get caught op in a dialectic process. In #221019613112’s other series there was always an orientation on the specific aspects that are characteristic for the grammar of persuasive images.

This endeavour proved to be a productive force and initiated the view that the path partly, the mental and physic space to move of the spectator, guided his interaction. If he wanted to point out the socializing and disciplining functions of the image, he needed to domesticate the spectators’ eyesight by robbing them of his/her indestructible (aesthetic) desire or at least try to postpone it but nevertheless evoke it (see: M.O.B., Force-de-l’image #). Aesthetic pleasure can only be made possible through a mental and physical density; the critical however needs a detached consideration. This way the effect on the interactive patterns of the spectators became a central issue. This set-up generated a vacuum or a deficit in their interactive patterns. The simple act of a physical buffer robbed the spectators of their physical and seemingly of their mental density, simultaneously their voyeurism was made more explicit and it felt as they where looked at by each other (see: M.O.B., Force-de-l’image #1). Their individual nature with it particular emotions and the way it is expressed in reactions, opinions, distrust and frustrations made them unintentionally, but unavoidable into performance artists. #221019613112 feels that if spectators’ triumph over the conflict with their own desires, pleasures, assumptions and opinions they will release mental space to understand their own imaginations and conceptions.

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