Nothing New 2020
Many masterpieces of antique to classical sculpture, such as The Borghese Gladiator (Louvre, Paris) or Gian Lorenzo Bernini's David (Galleria Borghese, Rome) are experiencing a “Renaissance” through virtual reality. Web portals sell the pieces of art as 3D-Scans for developers of computer animations and they are used by advertising companies as well as in movie and television production.
Based on such commercial 3D-objects, I develop rendered graphics, free from physical characteristics, like a sculptor in a simulated space, with multiple tools and procedures.
The new digital tools of ray tracing and cloth collision refer to the realisation of the mirroring of surfaces and the directing of the fusion of fabric and objects. The immaterial character paired with realistic light and glazing effects define the visual appearance of this metamorphosis, blurring the lines of reality and imagination.
Cloth Collision 2020
“CLOTH COLLISION is based on the digital case simulation of a fabric in virtual space. The computer-calculated randomness of a fabric falling over objects is stopped at a moment chosen by me. The resulting composition is rendered, then adjusted with image editing software and output as an inkjet print on canvas. Finally, the canvas is stretched onto an aluminum plate printed on the back, partially painted over by me and finally provided with a label.
The works are the result of an examination of the epoch-specific transformations of images in art history. The Cloth Collision series deals explicitly with the image of the fold and its meaning in different eras. My contemporary adaptation of the folded imagery connects border areas of visual art such as fashion & marketing with the philosophy of the fold. Questions about the authorship, commodification, and art as a brand are also inspirations for these works.
Greyhound 2021
By adapting existing pictorial works, combining them and creating new spaces of thought, I join a renaissancist tradition of appropriation.
For his Greyhound series, the mythological painting Diana Cazadora by Peter Paul Rubens (1577 – 1640), painted in 1620, serves as the starting point. At the center of this painting is Diana, the goddess of the hunt (Roman mythology) with greyhound, which can be interpreted as Interpretatio Romana of the Greek mythological Arthemis.
These considerations materialize in 3d processed collages as inkjet prints on canvas. Set pieces from digital sources such as web portals for commercial 3D objects, stock image providers, Fahsion blogs and websites of various fashion labels are sources for this work.
Note: The text above was written by the Artist. No modification was made by COCA.
Christian Holze
Germany
https://www.christianholze.com/
*1988 born in Naumburg, Germany
2019 – 2020
Academy of Fine Arts, Hamburg (Prof. Anselm Reyle)
Post Graduate – Meisterschüler, Academy of Visual Arts, Leipzig (Prof. Joachim Blank)
2015 – 2016
Academy of Fine Arts, Vienna (Prof. Julian Göthe, Anne Speier)
2011 – 2019
Academy of Visual Arts, Leipzig (Prof. Joachim Blank)
selected Solo Exhibitions
2021
"ReRelease" Reiter Gallery, Berlin
"Glime" X – Pinky, Berlin
"Greyhound" Bjorn & Gundorph Gallery, Aarhus
2020
"Nothing New" Reiter Gallery, Leipzig
"Nothing New" Bjorn & Gundorph Gallery, Aarhus
"2020" Gallery Oel-Früh, Hamburg
2019
"Added Value" HGB Gallery, Leipzig
"Most Wanted" CK Offspace
2018
"Crystal Ashtray" Bistro 21, Leipzig
2016
"Carrara Studies" Academy of Visual Arts, Leipzig
2015
"Getting Fleeced" Academy of Fine Arts, Vienna
Grants
2020
"Denkzeit'' Kulturstiftung des Freistaates Sachsen
2016
"KSK'' residency grant, Kalbe (Milde)