Le Fils de l’Homme,
2023
Darokin
Print : digital art
29.7 x 21 x 1 cm 11.7 x 8.3 x 0.4 inch
$289
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About the artwork
Type
Numbered and limited to 20 copies
20 copies available
Signature
Hand-signed by artist
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Medium
Dimensions cm • inch
29.7 x 21 x 1 cm 11.7 x 8.3 x 0.4 inch Height x Width x Depth
Support
Framing
Black wood case
Artwork dimensions including frame
53 x 43 x 3 cm 20.9 x 16.9 x 1.2 inch
Tags
Artwork sold in perfect condition
Artwork location: France
The Son of Man is one of the famous works whose interpretation is very subjective. Dating from the last century, the original painting evokes an enigmatic representation of a man whose face is hidden by an apple, a fruit which is seen as a symbol of the temptation and the fall of humanity in the biblical accounts. With his version of the Son of Man, Darokin once again revisits a classic that forged the history of art to mix it with the renewal and modernity expressed by computer progress. The artist programmed his own software to convert visuals into ASCII art, oriented for the IBM CP437 character set. He then connected an old dot-matrix printer and, from his linux terminal, printed his cryptic versions of the masterpieces of art history. A French haiku related to the work is hidden in each copy!
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About the seller
Professional art gallery • France
Artsper seller since 2022
Vetted Seller
Collector’s Guide
Imagine it at home
Discover more by the artist
Notre Dame de Reims - Origami
Darokin
Print - 180 x 120 x 1 cm Print - 70.9 x 47.2 x 0.4 inch
$2,312
Presentation
Adrien Rebuzzi, aka Darokin, (Reims) was born in 1982, at a time when screens and computers were becoming increasingly ubiquitous in the daily lives of the future millennials of his generation.
Darokin defines himself as an "underground" programmer and computer artist.
A programmer since childhood, Darokin uses 3D, creative coding and ASCII art, and defines himself as an "underground" computer artist.
His love of mathematics, geometry and the sacred shines through in his creations, whose universe is often imbued with an immutable immateriality evoked by computer imagery. Some of his creations come from universes relating to a bygone, fantasized era, as if to contain the passage of time. His color-blindness leads him to use a reduced color palette, a vestige of the display mode of his first IBM PS/1, which satisfies him visually: black and white contrasts and bright colors from saturated yellow, cyan and pink ranges. Through this unprecedented prism, the viewer travels back in time to the artist's childhood.
Darokin reflects his thirst for life and his optimism in the new chapters still opening up between man and machine. More than a leap in time, it's a step towards resolving our metaphysical complexes, where scientific curiosity and poetry have never been so close and transcendent.
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