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Wolfgang Voigt

Übermalte Uhren 1.1, 2009

Painting : acrylic, marker, print 28 x 21 x 0.1 cm

€1,280

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Wolfgang Voigt, Übermalte Uhren 1.1

About the artwork

Artwork sold in perfect condition

About the seller
GALERIA AZUR • Madrid, Spain

Artsper seller since 2021

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Dimensions cm inch
28 x 21 x 0.1 cm
Framing
Not framed
Type
Unique work
Authenticity
Work sold with an invoice from the gallery and a certificate of authenticity
Signature
Hand-signed by artist
Colors
Themes

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German artists

Path. Destination. Loop. Forest Loop.

The creative body of Wolfgang Voigt has always been characterized by complexity, boundlessness, unpredictability. The negation of the bounds of genre, style, and taste has been and still is today a crucial element of his body of work, just like the uptake / quotation and processing of external contents through universal sampling.

Having been socialized in the pop culture of the 1970s and 80s, Wolfgang Voigt has since been creating his very own art-music cosmos influenced by glam rock and jazz, new wave and folk music, pop art, and digital expressionism.  

His audiovisual project GAS,  based on psychedelically-compressedclassical sound sources in combination with ecstatically- focused forest photographs and films, particularly fascinates audiences far beyond electronic music and techno.

"GAS fantasizes about an audiovisual frenzy between Schönberg and Kraftwerk, between French horn and bass drum. GAS is Wagner as glam rock, is Hansel andGretel on acid. An endless march through the undergrowth, into the imaginary discotheque of a nebulous, abstract forest"

Both his musical and pictorial work has Wolfgang Voigt mostly follow strictly conceptual principles, which he repeatedly refines and variegates. Besides a predominantly sample-based, rather freely abstract to gestural musical and figurative language, it is mainly the loop principle that has fascinated Voigt all along.

The static or varied replay of minimalistic-repetitive structures, birthing certain patterns, and shapes. A way of thinking that is also very much influenced by the structure of computer-based music programs, which is visible in Voigt's work in various ways. And although or maybe because of the computer being Voigt's primary artistic medium in both disciplines - and Voigt mainly considers himself a digital artist - he occasionally transposes his conceptual, mostly serial ideas to the "live" instrument (Freiland Klaviermusik) or "real" color (machine painting).

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