thomas kuppler

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1936, 2012 Original Photoprint / Paint 59x42cm © thomas kuppler
Quick Facts
Lives in
Works in
Representing galleries
Radial Art Contemporain Strasbourg
mixed-media, installation, video-art, photography, conceptual

I am interested in investigating the possible psychological and cathartic effects of using obstruction as a devise for concealment. I am developing this through combining photography and painting.

My main objective is to look at the effect of concealing key elements of a photograph using a painted circle to obstruct the image. I also consider the act of physical alteration of the surface of the photograph to be of great significance . Further to this is to question whether the resulting image is perceived by the viewer as a portrait or a still life.

I have recently been working by combining photographic portraiture with circles, which work in specific ways to obstruct the surface of the image.My own attraction to portraiture came about as a way of working through my feelings and reflections about life processes I experience such as anxiety about aging and my own artwork has begun to absorb and reflect the concerns of mortality.

My initial approach is to merge two major traditional ways of artistic expression: still life and portraiture, with the aim of create my own highly personalized style, which I would describe as an evolution of still life.

This has led to the exploitation and forced interaction of two elements: the mechanical process of making a photograph and physical/manual process of adding paint to modify the reality, structure, meaning and appearance of the photograph. The meaning of the original photograph will be questioned and the meaning of the resulting “painting” made far more subjective and open to ontological debate. The viewer has to do more work to interpret the image and not simply rely on the artist’s explanation or description of the image. The obstructive circle is used as a vital signifier and symbol, the repetition of which will force the viewer to question the formal qualities of the work.

By combining the two art practices of photography and painting, with the use of the over painting as a way of erasing, hiding or covering up, the final result is neither a painting nor a photo, challenging the conventional medium of both practices.

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