Public Transport Sculpture

1970 Germany, lives in Solingen. German artist Tobias Megerles work refers to the age of machines and technology, to human relationships and to the discourse about the potentials in art itself. The imageries debate is between man and machine, vulnerability and aggression, openness and self-censorship, phobia and acceptance.The subjects in the work have their root in the artists contemplation of the relationship between individuals and the various manifestations of social behaviors. In this post-modern world, we often wander and are lost in a space created and preconditioned by a set of collective social behaviors and self-indulgence. Says Megerle, I am interested in simple questions. How does an individual position oneself to the group? What do individuals do in front of backdrop standardized by the society? What are the purposes of our action? Information about the work In addition to art projects, collaborations and various art techniques, Tobias Megerle has repeatedly dealt with the topic of linocuts. The topic of easy reproducibility, technical “accessibility”, the handmade, the topic of copying and repetition were always the starting point for various projects. Projects that had their origins in local conditions, such as Solingen with its rich manufacturing and industrial history, or technical innovations, keyword manual work in the age of “artificial-intelligent” authorship or collaboration. The aspect of human collaboration or the connection between man and machine, or man and tool, ideas of “black boxes”, programs and patterns come to the fore in the series presented. The works refer to “This is how today’s AI imagines historical manufacturing work” and can therefore represent a “blueprint” for artistic work in one’s own memory space. In this 15-part series, Megerle deals with the use of artificial intelligence as a “creative incubator” and includes “AI” as an extension of artistic work in his space of possibilities. While the same prompts in “text-to-image generators” always lead to new, exuberant variations, the prompt in the printing plate is, so to speak, fixed and always leads to the same result. The “Blueprint” series includes 15 works implemented as linocuts. The printing plates are each 42x42cm in size, printed on Hahnenmühle paper, 170g/sqm, 50x70cm. The works were created in 2023 and 2024, each in an edition of 3 pieces.