Some examples of my latest works from the series " covert and discovered history" . Digital decollages and digital overpainting of art historical paintings. Günter Konrad 2015
All news about Pop up markets, exhibitions, new editions and collaborations , click here. Günter Konrad, Guenter Konrad, merging arts, covert and discovered history, digital decollages and digital overpaintings.
Fragments get a new code I‘m currently working on a series of digital décollages and digital overpaintings titled „covert and discovered history“. Here I merge fragments digitized , famous single work of art history with my own photographs of anonymous, collective decollages and urban fragments.
My two editions: Collector's Edition and Market Edition.
The differences between the original size and trimmed format's, the different materials and printing processes.
Over the holidays Eva and Jacob came from New York to visit me in Salzburg. I cooked traditional Austrian food and showed them my studio and my latest works. We chatted a bit about my background. See the interview below.
Some examples of my recent works from the series " covert and discovered history" . Digital decollages and digital overpainting of art historical paintings. Günter Konrad 2014/2015
digital decollages and digital overpaintings by Günter Konrad 2013/2014
digital decollages and digital overpaintings by Günter Konrad 2012/2013
digital decollages and digital overpaintings by Günter Konrad 2011/2012
digital decollages and digital overpaintings by Günter Konrad 2011
Décollages are part of everyday aesthetics. In their wildness, rejection can be deciphered - a manifestation of the spontaneous and direct expression.
Artists like Raymond Hains and Jacques Villeglé recognized the quality of this unconventional form of art.
I try to transform this method into our contemporary digital age.
I'm currently working on a series of digital décollages and digital overpaintings. I combine renowned individual works of art with anonymous, collective décollages and street art.
I find it enthralling to extract antiquated and analog pictures from their usual and long-standing environment and merge them with the current artistic language of the street.
So, on the one hand you have got the history, the stories of the sophisticated culture of the past and on the other hand you have got the wild expression, the credibility of the sub culture in the streets.
My aim is to marry those two antithetic approaches to art in my work and so create something utterly new.