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Spain
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Fine Art Paper
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12 x 8 in ($100)
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White ($80)
"Crash #45" is a chromogenic print on metallic paper mounted on styrene and backed by a wood easel that will float the print away from the exhibiting surface.No framing necessary. Signed, titled and numbered on the back. Capturing the up-close remnants of a violent car accident as it is now dissolved into an abstraction of color, line, and picture plane one can get lost in the sheer visual wonder before the snap of recognition of an unfortunate human mishap.
Original Created:2015
Subjects:Automobile
Print:Giclee on Fine Art Paper
Size:12 W x 8 H x 0.1 D in
Size with Frame:17.25 W x 13.25 H x 1.2 D in
Frame:White
Ready to Hang:Yes
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Art prints are packaged and shipped by our printing partner.
Ships From:Printing facility in California.
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I am a Belgian digital artist/photographer living in Palma de Mallorca, Spain. Until 2022 I lived and worked in New York where I shot editorial and advertising work that ran the gamut of still life, fashion, and celebrity photography. (PDF portfolio available upon request) In 2010, upon relocating my studio from Manhattan to the artistic community of Long Island City I mostly focused on photography that revealed the passing of time within an oddly shaped and jagged-edged world where sudden mishaps accelerate the process. In series of close-up such as Crash and Slash my approach to the contemporary object is not to "look at how beautiful it is" but to "look at what a beautiful thing it has become" and recognize as well as visualize the nature of the metamorphosis. In 2015 I started to focus on the fascinating domain of Digital Art where the few thousand pixels of the image source are subverted to a such transformation that its content or genre is only serving as a construct of a new physicality. My series of iconic imagery originates in the raw data of a created or found picture that is manipulated and distorted via non-photographic applications. The ensuing is a digital rendition filtered through the alchemy of algorithms, a mystifying re-interpretation of the visual imprinted in one’s memory. By confronting the present, exploration of the past is left to the imagination. “Every act of creation is first of all an act of destruction” Pablo Picasso
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