artists.de - featured artists

international art and artists

Featured Artists 2010 der artists.de Redaktion (more information) Die Künstler des Jahres 2009 finden Sie hier.
Stefan Fransson from Sweden 1955, lives and works in Stockholm, Sweden The artificial compositions of Stefan Fransson* seem to be comprising more than only the known dimensions of time and space. They show a complexity beyond the ordinary optical experience. An undefined vastness pervades these picture-worlds which seem to be lying in an infinity barely comprehensible with our senses. It is impossible to identify a beginning and an ending. These are complex arrangements, in which Fransson composes endless layers of pictoral fragments like collages on top and underneath each other translucent diaphane-like. It’s almost as if these worlds would be weightless - floating. Some elements appear to be familiar, like flashes of memories, mingling with others. Other elements stay strange in their abstraction. In the light of these suggestive permeations of picure elements, Franssons worlds breach paradigms in which linear fabrics of cause and effect are represented. Much more in his compositions, natural scientific and philosophical questions in which associations of networking are a basic principle are hinted. By this Stefan Fransson seems to succeed in building bridges between art and science, because his worlds seem to implement these theories visually. Artist information More art by this artist Redaktion: Dr. Stefanie Lucci	Artist information More art by this artist

Franciso Navarrete Sitja from Chile 1986, lives and works in Santiago de Chile, Chile In his fotographies Franciso Navarrete Sitja* shifts between painting, drawing and digital images. He quotes classic compositions as well as the classic genres of self-portraits, nudes and motives of art history. Sitja, with his hand proofs on aluminum, insists on uniqueness when he uses emulsion like paint and / or pixels his paintings by hand - making a reproduction impossible although he mainly uses mechanic techniques. Over and over again he plumbs the borderlines beween different generas by visualising the shift of drawing and painting via fotography up to digital manufacturing techniques. at this he moves details into the foreground, fading image elements and lets the emulsion crumble as if it was aging paint. some details remind us of the known but without getting to precise. Sitjas fotographies change between showing and hiding, which accounts for the idiosyncratic appeal of his pictures. It seems as if they were remaining in poetic intermediate worlds. Artist information More art by this artist Redaktion: Dr. Stefanie Lucci	Artist information More art by this artist

Marcus Günther from Germany 1967, lives and works in Düsseldorf, Germany In Marcus G�nthers* paintings the known world seems to be off it's hinges. one absurdity follows the next. He acquaints us with almost surreal collages of the well known and nightmare-like cravings. Marcus G�ther explains: "the fantastic misbelieve that a better world could be achieved by the intervention of a higher might gives us hope, that we seem to need. I am on a quest for reason which is lost in these days." So he looks for reason in the bomb-belts of suicide bombers, in the papal adjurations, rape-scenes and obese figures with disgustingly milky, bulb-like faces. over and over again we see erect penisses pointing to the sky. strange objects with decided life of their own are floating through the skies - they are "Sinnk�rper" (reason-bodies) developed by Marcus G�nther that populate and pervade G�nthers pictorial worlds. These artificial organisms remind us of flying arses that seem to spread more and more in his worlds. a statement to our world could not be more characteristic. Artist information More art by this artist Redaktion: Dr. Stefanie Lucci	Artist information More art by this artist

Alexandre G. Vilas Boas from Great Britain 1973, lives and works in Guarulhos, Brasilien In his virile drawings Alexandre Gomes Vilas Boas* deals convincingly crtitcal with the catholic orthodox church. We see biblical scenes drawn with an astonishing expressive stroke wich are converted into new meanings. For example as in the black and white drawing Luoco da Matriz II, where one could get the impression of Jesus Christ riding on a donkey into Jerusalem. The title „The madman of Matriz“ refers clearly to the bigges and most important catholic church in Uruguay, in which the founder of the state Artigas was baptised. A further drawing is named „souls to let“ and we see a man in whos body we see multipal souls. In another drawing we see a fat man disgorging a fish. This scene instantly reminds one of the first followers of jesus the apostles who were fishermen from the lake Genezareth and who he turned into fishers of men. There is yet another relation. The drawing also relates to the story of Jona from the old testament. Three days and nights the disobedient prophete had to spend in the whales belly until he was cast back ashore. The fish is also an allegory for Jesus himself (in ancient Greek: ichthys equals fish and also Theos / god, Uios / son, Soter / redeemer) and refers to not only the last supper but also to Jesus who fed the five thousand with bred and fish. Zynically Vilas Boas titles this drawing with Experts and places it clearly into a actual political context. Every single of these at first glance simple and harmless drawings open a much deeper meaning woven knowledgeably by Vilas Boas to take a critical view on our cultural history, our belief as well as the present reality. Artist information More art by this artist Redaktion: Dr. Stefanie Lucci	Artist information More art by this artist

Cameron Jinks from Great Britain 1963, lives and works in Great Britain In his series �work in progress�* Cameron James makes fun of the typical mens world. He has managed to place every possible preconception and cruel platutitude in the "scene". The title of the series alone is symptomaic for this matter. Spanning from looking into the mirror, watching porn, cleaning, the secrets of a microwave, handcrafting, altercation,to watching soccer or the late-night dialogue with the whisky bottle. Inspired by the commonplace reality tv Cameron Jinks moves in the tradition of the tableau, starring personally as a model constantly changing his look over the years and piecing the photographs together to scenes. Which first seems as a documentary of stereotypes turns out to be as a critical view on our voyeuristic, remote controlled society. In his pictures Cameron Jinks rather looks at our social behaviour and personal identity than the displayed stereotypes of mens friendships. �Reality TV�, widely accepted and highly suggestive, seemingly promotes the impression that one can change one's life simply by copying a trendy personality type, which inevitably leads to the creation of a superfluous identity, and thus to the loss of individuality Artist information More art by this artist Redaktion: Dr. Stefanie Lucci	Artist information More art by this artist

Featured Artists of the editors of artists.de artists.de features chooses every week an artist whose work we found remarkable. This artist will be presented at least a week on the homepage of artists.de. The decisions about that are solely and independently made by the editors. Proposals unfortunately are not taken into account. Procedure of selection: Art is an open and diverse area and the preferences are quite different. Nevertheless, there are also terms of quality in art. These are composed of different factors which are defined by art critics, history and the market. The obviousness, with which the fluctuations in the valuation of art occurs, shows that quality is an agreement of society, which converts historically. Quality is not a fixed term and also relative. It is hardly heretical to say that first of all currently the market decides what is art or not and, above all, what constitutes good art. There the economic value is often equated with the aesthetic. First of all the quality of an artwork seems to be to defined about the price. Here the art market seems to be like a stock exchange for properties with a highest expectation of yield. From this poiunt of view, we as an open platform take distance. Criteria of the market should not be considered by us. For us the artworks stays in the foreground. For our selection solely aspects of art criticism and history are taken into account. In this sense, the editors of artists.de features every week an artist whose work we want to acknowledge. Yours editors of artists.de

artists.de - featured artists

international art and artists

Featured Artists 2010 der artists.de Redaktion (more information) Die Künstler des Jahres 2009 finden Sie hier.
Stefan Fransson from Sweden 1955, lives and works in Stockholm, Sweden The artificial compositions of Stefan Fransson* seem to be comprising more than only the known dimensions of time and space. They show a complexity beyond the ordinary optical experience. An undefined vastness pervades these picture-worlds which seem to be lying in an infinity barely comprehensible with our senses. It is impossible to identify a beginning and an ending. These are complex arrangements, in which Fransson composes endless layers of pictoral fragments like collages on top and underneath each other translucent diaphane-like. It’s almost as if these worlds would be weightless - floating. Some elements appear to be familiar, like flashes of memories, mingling with others. Other elements stay strange in their abstraction. In the light of these suggestive permeations of picure elements, Franssons worlds breach paradigms in which linear fabrics of cause and effect are represented. Much more in his compositions, natural scientific and philosophical questions in which associations of networking are a basic principle are hinted. By this Stefan Fransson seems to succeed in building bridges between art and science, because his worlds seem to implement these theories visually. Artist information More art by this artist Redaktion: Dr. Stefanie Lucci	Artist information More art by this artist

Franciso Navarrete Sitja from Chile 1986, lives and works in Santiago de Chile, Chile In his fotographies Franciso Navarrete Sitja* shifts between painting, drawing and digital images. He quotes classic compositions as well as the classic genres of self-portraits, nudes and motives of art history. Sitja, with his hand proofs on aluminum, insists on uniqueness when he uses emulsion like paint and / or pixels his paintings by hand - making a reproduction impossible although he mainly uses mechanic techniques. Over and over again he plumbs the borderlines beween different generas by visualising the shift of drawing and painting via fotography up to digital manufacturing techniques. at this he moves details into the foreground, fading image elements and lets the emulsion crumble as if it was aging paint. some details remind us of the known but without getting to precise. Sitjas fotographies change between showing and hiding, which accounts for the idiosyncratic appeal of his pictures. It seems as if they were remaining in poetic intermediate worlds. Artist information More art by this artist Redaktion: Dr. Stefanie Lucci	Artist information More art by this artist

Marcus Günther from Germany 1967, lives and works in Düsseldorf, Germany In Marcus G�nthers* paintings the known world seems to be off it's hinges. one absurdity follows the next. He acquaints us with almost surreal collages of the well known and nightmare-like cravings. Marcus G�ther explains: "the fantastic misbelieve that a better world could be achieved by the intervention of a higher might gives us hope, that we seem to need. I am on a quest for reason which is lost in these days." So he looks for reason in the bomb-belts of suicide bombers, in the papal adjurations, rape-scenes and obese figures with disgustingly milky, bulb-like faces. over and over again we see erect penisses pointing to the sky. strange objects with decided life of their own are floating through the skies - they are "Sinnk�rper" (reason-bodies) developed by Marcus G�nther that populate and pervade G�nthers pictorial worlds. These artificial organisms remind us of flying arses that seem to spread more and more in his worlds. a statement to our world could not be more characteristic. Artist information More art by this artist Redaktion: Dr. Stefanie Lucci	Artist information More art by this artist

Alexandre G. Vilas Boas from Great Britain 1973, lives and works in Guarulhos, Brasilien In his virile drawings Alexandre Gomes Vilas Boas* deals convincingly crtitcal with the catholic orthodox church. We see biblical scenes drawn with an astonishing expressive stroke wich are converted into new meanings. For example as in the black and white drawing Luoco da Matriz II, where one could get the impression of Jesus Christ riding on a donkey into Jerusalem. The title „The madman of Matriz“ refers clearly to the bigges and most important catholic church in Uruguay, in which the founder of the state Artigas was baptised. A further drawing is named „souls to let“ and we see a man in whos body we see multipal souls. In another drawing we see a fat man disgorging a fish. This scene instantly reminds one of the first followers of jesus the apostles who were fishermen from the lake Genezareth and who he turned into fishers of men. There is yet another relation. The drawing also relates to the story of Jona from the old testament. Three days and nights the disobedient prophete had to spend in the whales belly until he was cast back ashore. The fish is also an allegory for Jesus himself (in ancient Greek: ichthys equals fish and also Theos / god, Uios / son, Soter / redeemer) and refers to not only the last supper but also to Jesus who fed the five thousand with bred and fish. Zynically Vilas Boas titles this drawing with Experts and places it clearly into a actual political context. Every single of these at first glance simple and harmless drawings open a much deeper meaning woven knowledgeably by Vilas Boas to take a critical view on our cultural history, our belief as well as the present reality. Artist information More art by this artist Redaktion: Dr. Stefanie Lucci	Artist information More art by this artist

Cameron Jinks from Great Britain 1963, lives and works in Great Britain In his series �work in progress�* Cameron James makes fun of the typical mens world. He has managed to place every possible preconception and cruel platutitude in the "scene". The title of the series alone is symptomaic for this matter. Spanning from looking into the mirror, watching porn, cleaning, the secrets of a microwave, handcrafting, altercation,to watching soccer or the late-night dialogue with the whisky bottle. Inspired by the commonplace reality tv Cameron Jinks moves in the tradition of the tableau, starring personally as a model constantly changing his look over the years and piecing the photographs together to scenes. Which first seems as a documentary of stereotypes turns out to be as a critical view on our voyeuristic, remote controlled society. In his pictures Cameron Jinks rather looks at our social behaviour and personal identity than the displayed stereotypes of mens friendships. �Reality TV�, widely accepted and highly suggestive, seemingly promotes the impression that one can change one's life simply by copying a trendy personality type, which inevitably leads to the creation of a superfluous identity, and thus to the loss of individuality Artist information More art by this artist Redaktion: Dr. Stefanie Lucci	Artist information More art by this artist

Featured Artists of the editors of artists.de artists.de features chooses every week an artist whose work we found remarkable. This artist will be presented at least a week on the homepage of artists.de. The decisions about that are solely and independently made by the editors. Proposals unfortunately are not taken into account. Procedure of selection: Art is an open and diverse area and the preferences are quite different. Nevertheless, there are also terms of quality in art. These are composed of different factors which are defined by art critics, history and the market. The obviousness, with which the fluctuations in the valuation of art occurs, shows that quality is an agreement of society, which converts historically. Quality is not a fixed term and also relative. It is hardly heretical to say that first of all currently the market decides what is art or not and, above all, what constitutes good art. There the economic value is often equated with the aesthetic. First of all the quality of an artwork seems to be to defined about the price. Here the art market seems to be like a stock exchange for properties with a highest expectation of yield. From this poiunt of view, we as an open platform take distance. Criteria of the market should not be considered by us. For us the artworks stays in the foreground. For our selection solely aspects of art criticism and history are taken into account. In this sense, the editors of artists.de features every week an artist whose work we want to acknowledge. Yours editors of artists.de