The digitally technique of imitated watercolour plays on the socially and morally highly valued concept of eye witnessing – the appearance of truly recorded events. The watercolor usually arises from immediate reality – it is real, unmanipulated, authentic.
The digital watercolours of the Aquaworld series dupe this idea. They are digital montages and prints based on public photographic images.
The selection consists of motifs of unfortunate events (Desasters) and portraits of prominent virtual personalities from film, science fiction and computer games (Portraits); scenarios that are not in accordance with the expected context of watercolour technique and therefore seem „improbable“. This improbability stimulates visual pleasure and the statement of false watercolours, challenging the viewer not to believe his eyes.
„The consciousness industry provides most of the photographic images available to man. […] Here, the question must be clarified how the photo is perceived and recognized, what distinguishes the perception of photos in principle from reality, and what influence this perception has on consciousness. […] It can be assumed that the consequences we might draw from our perceiving of the material reality depend on the fact that the perception of the unmediated reality is the exception. Our instruments of apperception are partly shaped by perceiving the media which generally conveyes the reality to us.“
Hans Brög
V.I.P. (10)
V.I.P. (8)
V.I.P. (7)
V.I.P. (9)
V.I.P. (1)
V.I.P. (5)
V.I.P. (4)
V.I.P. (11)
V.I.P. (3)
V.I.P. (2)
V.I.P. (6)
Lara's Girlfriend
Disasters (7)
Disasters (6)
Disasters (12)
Disasters (11)
Disasters (1)
Disasters (2)
