After visiting the VISCOM 2017 in Düsseldorf, I show here some of my design ideas for facades and Interiors of modern architecture with the use of Smart FOILS or (AM)OLED Technology.The latest technical developments at the CES 2018 show, that it is now possible to create such flexible facades and interiors.
You can watch this Video also on my YouTube channel .
This bag is meant for the ageless Birds
of Paradise that tap a toe or two to the Hip Pop Deep Rap Hop House music of
the day. Highly individualistic, they're ready to break all the
"rules" in Fashion.The only thing that matters is : How do I feel
when I carry this Glamorous,Vibrant, Luxury Bag and do my girlfriends want to
steal it from me ?
Now that fashion and accessories on the catwalks of the fashion
capitals and in the fashion hotspots of the world are more colorful
then ever, the time is exactly right for my unique designs. I´m looking
for a cooperation with Color Thinking Creatives to produce
my New Glam Color Bags and offer them on the global market.
One of my great challenges as a designer and artist is COLOR and the energetic and dynamic effect it has on people. I´ve developed a method to create endless harmonious color combinations in dynamic structures.In my videos below I give you an idea, of what I mean. I´m looking for cooperation partners to create beautiful and colorful products together such as handbags, shoes, accessories, carpets, wallpaper,jewlery and modern communication devices. I´m also thinking of the combination of color and glass: glass finishing as a part of the architecture of a building or in the interior design of its rooms; corporate colors,or the surface design of the smart e-cars of the near future. The possible applications are endless. Another idea is the combination of COLOR and TECHNIC. Smart bags and clothes that change colors depending on the mood of the person that carries / wears them. Smart buildings, the interior as well as the facades, change colors depending on the time of the day or the season to have a positive effect on the well-being of the people. I look forward to hear from you !
Sliding in a split second like a wizard on the screen of my smartphone with my finger, that´s how I´ve made these Doodles All you see is me. Selfies of my Subconcious,in different moods,with different gestures and in different postures.
THE IMPORTANCE OF DOODLING
The art of drawing which is of more real importance to the human race than that of writing... should be taught to every child just as writing is,” declared John Ruskin, one of the most prolific writers of the 19th century. The Campaign For Drawing, a British charity established a decade ago on the centenary of Ruskin's death, duly works to raise the profile of drawing for all ages. The idea is that drawing is an essential and woefully underestimated tool for thinking about and engaging with the world.
Drawing is “making marks with meaning," explains Sue Grayson Ford, director of the Campaign For Drawing. It is an art form but also a communication device, used by architects, archaeologists and mathematicians, as well as artists, cartoonists and regular people. From doodles to murals to blueprints, it is how humans communicated before the invention of language, and it continues to succeed where language often fails. Indeed, it is “the best tool we have for understanding and communicating,” says Ms Grayson Ford. (http://moreintelligentlife.com/blog/importance-doodling)
Martin Vieweg and Nancy Seifer wrote in 2008: "One of the most enduring metaphors for the spiritual path is the transformation of the lowly catepillar into a butterfly. Out of its own substance, the ground-hugging grub weaves the medium for its metamorphosis—the chrysalis within which it evolves into a beautiful creature with wings. The human being undergoes an equally dramatic transformation, unfolding the path to liberation from within the depths of the soul and emerging, after great struggle, as an expression of divinity in the world." TRANSFORMATION
The Goal of the Spiritual Path
"The word “transformation” first became popular during the 1960s and 70s as the new wave of spirituality began to emerge. For "new-agers," it was a word associated with spiritual awakening, though its deeper meaning awaited experience. By the 80s and 90s, the word became a trendy synonym for change in the corporate world, and by the start of the new millennium it had entered the lexicon of government agencies, most notably the Pentagon. The spiritual sense of the word was all but dead and buried during those years. In the wisdom teachings, transformation is the process by which the human being becomes a spiritual being. It involves a metamorphosis that begins when the soul in incarnation awakens to its spiritual essence, after lifetimes of immersion in matter, and discovers the path of return to its Source. Along the way, the individual who was identified with the outer persona—the body, emotions, and mind—gradually becomes identified with the Soul, the true or higher Self. As the path of transformation unfolds, the persona becomes the reflection of the light and love of the soul........" Read more on: http://whenthesoulawakens.org/the-path-of-transformation_268.html
Weiß ist die Summe aller
Farben des Lichts und damit die Vollkommenste. Aus Ihr lasse ich meine Bilder
hervor gehen und mit ihr setze ich Akzente.
Zu jeder Zeit haben Künstler bei der Umsetzung Ihrer kreativen Ideen gebrauch
gemacht von den neuesten technischen Errungenschaften und sich von den letzten
Stand der Wissenschaft inspirieren lassen. Umgekehrt hatte Ihr freies und
unkonventionelles Denken die Forscher und Wissenschaftler beeinflusst. Ich habe
meine Wahrnehmung im Laufe der Jahren immer weiter verfeinert und
sensibilisiert, sodass ich jetzt mit Hilfe neuer Technologien und durch immer
"neues" sehen so zu sagen die Unendlichkeit in meinen Fingerspitzen
habe. Die Erkundung der Multi-Dimensionen hat begonnen.
Auf der Homepage von K20
fand ich folgenden Text: „Der weiße, freie Abgrund, die
Unendlichkeit liegt vor uns“, hatte Kasimir Malewitsch 1919 formuliert und
damit eine Metapher gebildet, die wegweisend für seine Kunst wurde. Die weiße
Fläche als Leere ist bei ihm der monochrome Grund, vor dem die geometrischen
Formen schwerelos zu schweben scheinen. Auf der Suche nach einer neuen Seinsgrundlage
des Menschen sah er in der weißen Suprematie die höchste Vollendung der
Gegenstandslosigkeit und verknüpfte sie mit idealistischem Gedankengut zum
radikalen Entwurf einer zukünftigen Gesellschaft. Für Wassily Kandinsky
markierten weiße Flächen einen Möglichkeitsraum; er sah im Weiß eine vielerlei
positive Möglichkeiten bergende Ursprungskraft der Evolution und geistigen
Erhöhung.
Der Evolutionsgedanke leitete auch Mondrians Interesse
an einer universalen Wahrheit, die er jenseits des Gegenständlichen vermutete.
In der radikalen Reduktion der Gestaltungselemente auf horizontale und
vertikale Linien sowie die drei Primärfarben Rot, Gelb und Blau (und in der
Gegenüberstellung hierzu die drei Nichtfarben Schwarz, Grau und Weiß)
entwickelte er sein neoplastizistisches System. Während Mondrian mit den drei
Primärfarben der Form und Materie Ausdruck verleihen wollte, bedeutete ihm die
Nichtfarbe Weiß zunächst die neutrale Fläche, später setzte er sie sinnbildlich
dem leeren Raum gleich.
In den Jahren zwischen 1880 und 1920 waren
Vorstellungen von einer unsichtbaren räumlichen, einer vierten Dimension nicht
nur unter Naturwissenschaftlern, Theosophen und Schriftstellern weit
verbreitet. Angeregt durch natur- und populärwissenschaftliche Schriften beschäftigten
sich auch Künstler mit den Konzepten dieser vierten Dimension, die sie mit
einer Erweiterung und Befreiung des Denkens und der Vorstellungskraft in
Verbindung brachten.
Gemeinsam waren sie der Überzeugung, dass hinter der
Grenze der menschlichen Wahrnehmung eine unsichtbare Realität existiere und
dass Künstler in diese vierte Dimension blicken und sie sichtbar machen
konnten. Die damaligen physikalischen Entdeckungen prägten ein neues Bild von
der Welt; dies erweiterte bei Künstlern wie Kandinsky, Malewitsch und Mondrian
den Vorstellungshorizont hin zu mehrdimensionalen, unendlichen kosmischen und
geistigen Weiten, die in den weißen Flächen ihrer Bilder Ausdruck fanden.
Abstract art dominates the fair as collectors seek
less flashy works and artists begin to update the form
By Charlotte Burns, Melanie Gerlis and Julia Michalska. From Art
Basel daily edition
Published online: 12 June 2013
Abstract art, the form that dominated the
20th century, once again reigns supreme at the 44th edition of Art Basel. As
the fair opened yesterday to the great, the rich and the famous—including the
man of the month, Massimiliano Gioni, the director of the Venice Biennale,
Russia’s power couple Roman Abramovich and Dasha Zhukova, and the actors
Leonardo DiCaprio and Lukas Haas—visitors were confronted with a variety of
non-representative, non-figurative art.
Historical pieces
by abstract pioneers include kinetic sculptures by Alexander Calder (such asBlue
Flower, Red Flower, 1975, at Tina Kim/Kukje, 2.0/F6, priced at $2.8m),
Minimalist wall pieces by Donald Judd (includingUntitled
(Ballantine 89-49), 1989, priced at $2.4m with David Zwirner, 2.0/F5)
and various large abstract works by Richter (a 1984 example is on show at
Richard Gray Gallery, 2.0/E4, priced at $6.5m; a piece from 1992 is on offer
with Dominique Lévy Gallery, 2.0/F4, for “under $20m”). In equal abundance are
works by contemporary artists who have taken on the abstract mantle, including
Christopher Wool (Untitled,
2001, at Luhring Augustine, 2.0/E13, $1.5m) and Albert Oehlen (FM44, 2011, which sold to a European
collector for €250,000 within hours of the fair’s opening at Galerie Max
Hetzler, 2.0/E7).
“The abstract abounds,” says Lisa Spellman, the founder of New York’s 303
Gallery (2.1/J21). She is showing non-figurative works priced between $150,000
and $250,000, including two large 2013 works by the gallery’s recently
recruited artist Jacob Kassay, which were bought together by a European private
collector, and six ceramic works by Nick Mauss, which sold for $23,000 each.
Sean Kelly (2.1/N2) designed his stand according to “different ideas of
abstraction”, centred around Joseph Kosuth’sTitled (Art as Idea as Idea), 1967,
priced at €100,000. “There’s a lot of really good [abstract] work being done
across all media right now—painting, photography, conceptual—and we wanted to
reflect that,” he says. New works on show include Callum Innes’sUntitled,
2013, a large oil and shellac canvas, which sold to a private US collector for
£50,000.
The artist Ad Reinhardt famously said that his 1960s “black” abstract works
marked the end of painting, but the abstract form “remains wide open to fresh
contributions”, says Robert Storr, the dean of the Yale University School of
Art, who is organising a Reinhardt exhibition for David Zwirner in New York
this November. It is “one of the great inventions of Modern art that is barely
a century old”—rather, it is “a century young”, he says.
Can today’s artist move the once-radical form in a new, meaningful direction?
“The problem is, there is a group of lower-tier abstract painters who are good
and whose work looks beautiful, but what they are bringing to the table in
terms of art history is nothing new. They are not adding to the conversation,”
says the New York-based art adviser Lisa Schiff.
She highlights exceptions whom she thinks are “making enough of a formal
innovation to stand alone”. These include the US artist Garth Weiser, whoseSedaka,
2013, sold for $55,000 to a private US collector within half an hour of the
fair’s opening at Casey Kaplan (2.1/N16). Massimo De Carlo (2.1/N3) has hung
three equal-sized abstract works by different artists next to each other, to
“explore the possibilities of abstract art”, says Flavio del Monte, the
gallery’s institutional relations manager. “We are bombarded by images
everywhere today, so it is important for artists to take some distance,” he
says. Loring Randolph, a director at Casey Kaplan, says: “The abstract is
always relevant; you can have a rhetoric behind it that can be whatever you
want.” Today’s practitioners, she says, “think about how the concept [of the abstract]
and the process can work together”.
Process is key: artists are experimenting with materials and technology that
were previously unavailable, to update the form. Denise René’s stand (2.0/D19)
includes works by the Brussels-based artist group LAb[au]. The pieces, such asParticle
Springs, 2011, priced at €27,000, use computer algorithms to create
moving, smoke-like patterns on monitors. Mitchell-Innes & Nash (2.0/E6) is
showing avant-garde masters such as Franz Kline (Provincetown II, 1959, around $10m) alongside younger artists
including Keltie Ferris (Laissez-Faire,
2013, $50,000), whose work is inspired by graffiti and digitalisation.
For some, abstract art provides the chance to explore art history in a new way.
At Galerie Nordenhake (2.1/P9), the 29-year-old artist Paul Fägerskiöld has
used spray paint to create a homage to both Jackson Pollock and the
Pointillists in his monochromeUntitled (Yellow), 2013, €25,000,
which sold to a private German museum. At Sperone Westwater (2.0/E10), Emil
Lukas’s thread-painting diptych panelsCurtain East and Curtain West, 2013,
which sold for $65,000, are influenced by Sol LeWitt.
The trend is market-led, too. The boom years were characterised by flashy,
self-explanatory art, but there has been a return to more thoughtful, abstract
forms such as those produced by artists within the European Zero group. “We
staged an exhibition of their work in 2008, which raised consciousness for an
American audience to whom the work seemed new. The response was strong and has
increased,” says Angela Westwater, the co-director of Sperone Westwater. The
gallery is showing works by artists associated with the group, including Lucio
Fontana’sConcetto spaziale,
1958, priced at around €1m, and Otto Piene’s 1975 oil and fire on canvas,Red
Matters, priced at €250,000. Meanwhile, post-recession records have been
achieved at auction for works by abstract artists, including the $43.8m paid
for Barnett Newman’sOnement VI, 1953, at Sotheby’s in New
York last month. “Collectors now want quieter, intellectual art with more
depth. The years of the loud, funny works are over,” says Bob van Orsouw
(2.1/P17), who is showing works including a wall sculpture by the Dutch
conceptual artist Ger van Elk (Los
Angeles Freeway Flyer, 1973, €125,000).
The fact that much abstract art is easy on the eye (and looks good above the
sofa) could be one of the attractions for some of the new buyers who have
entered the market since 2008, according to some in the trade. “It doesn’t seem
so long ago that figurative art was the latest fashion; now it’s good-looking
abstract,” one London dealer says. Others do not see the problem. “Who says
that decorative art is not also serious art? Matisse and virtually all of
Islamic tradition attest to the fact that it is or can be,” Robert Storr says,
adding: “Is Mondrian eye-candy?”
