HOLOREALISM / Frank Pohlmann

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Fire on your Screen ( anamorphic 3D), 2014 Anamorphic Video In Stereoscopic 3 D © Frank Pohlmann
Holorealistic images at Flesh exhibition Espacio gallery, 2015 © Frank Pohlmann
Transience (binocular Anamorphosis), 2014 use 3D-glasses ( red/cyan) Digital Print © Frank Pohlmann
Transience (binocular Anamorphosis), original, 2014 use 3D glasses (red/cyan) Digital Print © Frank Pohlmann
Flesh and Nothingness 3D (use red/cyan 3D glasses), 2015 Stereoscopic Image On Canvas © Frank Pohlmann
Still Life 1 ( binocular Anamorphosis ), 2013 / use 3D glasses ( red/ cyan) © Frank Pohlmann
Still Life 1 ( original image ) Binocular Anamorphosis , 2013 / use 3D glasses (red/ cyan) © Frank Pohlmann
Splash in Space 1, use 3D glasses(red/cyan) Holo Image In Stereo 3 D 40 Cm X 40 Cm X 2 Cm Centimeters © Frank Pohlmann
Splash in Space 1 (original image), 2015 Holo Image 40 Cm X 40 Cm X 2 Cm Inches © Frank Pohlmann
Splash in Space 2, 2015/use 3D-glasses (red/cyan) Holo Image In Stereo 3 D 40 Cm X 40cm X 2cm Centimeters © Frank Pohlmann
Splash in Space 2 (original), 2015/ use 3D glasses ( red/cyan) Holo Image In Stereo 3 D 40 X 40 X 2 Centimeters © Frank Pohlmann
Vision , 2013 / use 3D glasses (red cyan) Digital Design © Frank Pohlmann
Composition of Color in Space 1, use 3D glasses (red/cyan) Digital Print © Frank Pohlmann
Composition of Color and Shape in Space 1/ stereoscopic 3D, 2013 use 3D glasses (red/cyan) Digital Design © Frank Pohlmann
SpaceTwist 3D, 2012/ view with 3D glasses (red/cyan) Stereoscopic Design © Frank Pohlmann
Composition in Space 3D, view with 3D glasses Stereoscopic Design © Frank Pohlmann
Composition in Space-Wormhole 3D, view with 3D glasses © Frank Pohlmann
Drawing in Space- Composition 1 /Stereo 3D, 2011 use 3D glasses ( red/cyan) Stereoscopic Photography © Frank Pohlmann
Space painting with bottlle and glass on a table 3D, 2011 use 3D glasses 9red/cyan) Stereoscopic Photography © Frank Pohlmann
Space Collage with Trees and Eiffel Tower 3D, 2013 use 3D glasses (red/cyan) Digital © Frank Pohlmann
per aspera ad astra 1, 2013 / use 3D glasses (red/cyan) Print © Frank Pohlmann
Eifel Tower Stereoscopic Photography Use 3 D Glasses (Red Cyan) © Frank Pohlmann
Eifel Tower Space Collage, view with 3D glasses Stereoscopic Image © Frank Pohlmann
Eiffel Tower 3D hommage a r. Delaunay, use 3D glasses Stereoscopic Design View With 3 D Glasses © Frank Pohlmann
Timelab Exhibit at Royal Instituition 1, 2003 © Frank Pohlmann
Timelab Exhibit at Royal Instituition 1, 2003 Digital Image Of Installation © Frank Pohlmann
Splash ( stereoscopic 3D ), 2016 Digital Photography 24 Times16 Inches © Frank Pohlmann
Composition of Fruit (Stereo 3D), 2016 Stereoscopic Photography 20 X 20 X 1.5 Inches © Frank Pohlmann
Quick Facts
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Facebook : Holorealism
cosmic, contemporary abstract, art-science, stereoscopic, sciart, stereoscopic photography, stereo, stereo photography, science art, 3D, mixed-media, installation, video-art, conceptual, surrealism, modern, photography, digital
HOLOREALISM : Stereo 3D from Hollywood to the Art Gallery

 works of art are for sale as originals..please email artist for details..use email this artist  top right corner


short answer : the depiction of depth utilising stereoscopic + anamorphic techniques ( see also below)

  3D images should be viewed with red/cyan 3D glasses.


All of my artwork is interactive : when viewed with 3D-glasses the screen or canvas transforms into a 3D world. All of the 3D images presented can be displayed on canvas and viewed with 3D glasses. Alternatively the 3D images can be displayed on autostereoscopic screens without the need of 3D glasses.

For best viewing use an iPad or any other high resolution screen.Some of my artwork is anamorphic, that means the image has to be seen from a definite angle from the side or from above.The 3D effect is proportional to the size of the image and also changes with viewing distance. I recommend to view images on an iPad and to adjust position and magnification until desired effect is attained


Holorealism...... the shaping of space on a flat surface, because visual art is all about creating spaces. utilising stereoscopic 3D techniques to capture depth, because binocular depth is different from and not to be confused with perspective depth. meta-physical art, because it renders tactile and tangible the space which encloses us. interactive art, because a 3D-world  emerges from the display surface and reaches out to the viewer. art for the 21st century, because it incorporates and engages with state-of-the-art technologies. relating to the art of the  great masters, because like them holorealism is concerned with the composition and the emotional impact of space. bringing Hollywood 3D vision from the movie theatre to the art gallery. analytical art, because it deconstructs the geometry and inner workings of visual space. emotive art, because it encloses and dissolves the viewer into the space depicted. holistic art, because it engages the viewer with all his/her visual senses and allows him/her to identify with the visual universe.


For a theoretical discussion of stereoscopic vision and its relation to the history of art see here my blogs

                                   From flat Canvas to 3D Bildraum

                                 Merleau Ponty and the 3ed Dimension

My artwork comprises installations, sculpture, graphics and video- displays. I like to include technology into my work. The result is an innovative mix of 'high and low technology' solutions to aesthetic problems.

In my artwork I explore hidden dimensions of space and time. My 3D stereoscopic work is concerned with the dimension of depth. When viewing images  with 3D glasses,the spectator will be able to touch colors and shapes emerging from the canvas,revealing the dimension of binocular depth.

Likewise, my installation TimeLab explores deep cosmic time. On a human time scale this deep time is beyond comprehension. By entering the installation spectators are able to explore cosmic time scales in an interactive and physical way.

The Texture of Space 

The very act of viewing my artwork with 3D glasses transforms the canvas into a visual membrane. The display surface becomes a physical object, where the canvas acts like a membrane between the viewer and the 3D world. The dimension of binocular depth is revealed,which is a dimension of depth beyond the sense of perspective depth. The true texture of visual space emerges from the canvas.

from 3D cinema to stereoscopic 3D artwork

I explore the artistic potential of stereoscopic 3D (S3D) techniques for the fine arts. Many of these techniques are currently employed in cinema movie making. It turns out that S3D techniques are even more impressive if applied to smaller scale artworks.

In my S3D artwork I explore how the natural, binocular visual space of the viewer interacts with the 3D world displayed on the canvas. It is this interaction of two distinct 3D spaces ( viewer space and canvas space) which is unique to S3D artwork. Due to the screen sizes and viewing distances in cinema settings, the 3D world displayed on the cinema screen is not in interaction with the binocular space of the viewer. In contrast, my artwork explores the interaction of 3D spaces on the art canvas and the fusion of these spaces with the binocular space of the viewer.

from perspective depth to binocular depth

In my S3D work i explore the relationship between the flat canvas surface and the 3D world emerging from it. I explore how visual space is built up and structured by the viewpoint of the spectator. Motivated by research by Merleau-Ponty I challenge the conventional view that the dimension of depth is just the dimension of width viewed in profile ( Merleau-Ponty/ Phenomenology of Perception).This traditional,cartesian view leads directly to the notion of perspective depth. In my stereoscopic 3D artwork I explore the dimension of binocular depth. It turns out that binocular depth is different but complementary to perspective depth.

TimeLab installation : Hidden dimension of deep time

The TimeLab  display is a way of visualizing and comparing different periods of time through the evolution of the universe. The volume of the installation represents the time elapsed since the big bang.Smaller periods of time are represented by smaller volumes, as embodied in the time shapes.

All shapes contain, and in fact, are time. The relation of the shapes to each other is the relation of periods of time. All periods of time up to 13.8 billion years (time since the big bang) can be displayed. Similiar to a planetarium visitors are able to travel through space and time.

Press release TimeLab exhibit at Royal Institution (2003):

The installation is included as a part of Open afternoons at the Royal Institution, the site of Faraday's pioneering scientific discoveries.....'TimeLab' offers visitors a playful and beautiful display of the scientific concept of time. Depicting time in cubic millimetres, the installation is a black room measuring 6m times 5m lit up by a fluorescent orange grid made up of a series of suspended threads. An inverted illuminated blue pyramid structure, symbolising one billion years to the present hangs from the ceiling, as if floating in space, in the centre of the room.

The installation enables visitors to engage in a dialogue between science and art and, by entering the room it allows them to physically make a journey  through time. The room depicts in volume the time since the Big Bang with each liter representing 100,000 years.

A small neon blue sphere, set within the centre of the back wall lit by pin prick stars, illustrates 150,000 years of mankind, reminding visitors of the insignificant amount of time that man has been on earth. In a true synergy of art and science, Frank Pohlmann claims to have been equally inspiresd by Einstein and Kandinsky to create the piece.( Victoria Ribbins/Press Manager/ Royal Institution)