Artist statement 2022
In 2021, the 100th birthday of Joseph Beuys arrived in the midst of Coronavirus lockdown and a brink of economic crisis. Simultaneously, the crypto currency has shot up in value, I started to examine its principles in the light of the social sculpture of Joseph Beuys, venturing on a new series of work to develop a visual depiction of a blockchain.
Coming from the roots of photography as the first source of image automation and transforming my work through the digital revolution to arrive at the hexadecimal colour code as the fundamental building block of contemporary images, I found an excess of this code mined and circulated by the blockchain servers, ready to be up-cycled into art work. Moreover, the principles of crypto production and its multi-source legitimised through code contribution, maintained by blockchain and connected by the Internet (Decentralised Autonomous Organisations, aka DAO) are remarkably reminiscent in their structure of “Organisation for Direct Democracy by Referendum” described by Joseph Beuys.
What Beuys had envisioned as the ideal human society is currently taking place on the Internet and it can produce artwork from the available data with the help of automated continuously running algorithms, the image machines created by me. Regularly supplied with data by the Bitcoin and Ethereum blockchains, those machines produce its visual representation, but are also themselves a part of the non-narrative art production process. In our reality, this process becomes the art work, inalienably connected to the informational and financial online exchange, forming a closed digital Circuit.
Artist statement 2018
I produce minimal, graphic text and color work which explores the boundaries of direct visual language in the post-photographic landscape. I deconstruct colour by showing it as code itself. The depiction as code arises from the necessity to show a new level of reality, resulting from the process of digitalisation. Codeworks occur from reading digital files onto an analogue carrier. When monochrome colour fields are read, the repeating character strings generate complex metastructures.
The logic of my work of creating a technical image of reality by pushing a trigger, has always remained the same, only the image-production machine, the camera, was replaced by a computer. Today, algorithms and code are reality. Just as photography in the 20th century offered art new ways of presenting reality, today the code offers new possibilities for handling reality. In the 21st century, code claims the reality sovereignty.
about my work:
„The algorithm used to be called God.“
Prof. Dr. Marcus Steinweg 2019
“This work shows how mathematical information can be conserved and nevertheless produce a qualitatively different perceptible impression, if the information 'feeds’ not in a modality-specific way”.
Matthias Hofer (MIT) 2019
„On request is a new way of reading, able to oscillate between abstract characters of algorithmic hieroglyps and the spezific aesthetic of complex character strings.“
Dr. Ursula Stöbele UdK, Berlin 2014
“The spiritual in art today is the code.”
Bazon Brock 2012