Author: OdoHans76 (page 3 of 4)

name 7

Printed and always identical. The principle of technical reproducibility makes it possible. In this project, my catalog “Name” becomes the blank, the starting material. The end becomes the beginning of entirely new ideas. The brochure comprising illustrations of bodies becomes the body, upon which one can encroach, which can be injured, decorated and designed. Real nudes, which, in this format, turn the copy into a work of its own. Catalog is composed of various sub-projects. Skulp / Sketchbook / Ink / Explode (work in progress)

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Scratching, burning, staining. Skin as medium of alteration. The catalog as sculpture. My catalog “Name” from 2016 depicts partial excerpts of the human body. As a block of paper, in this work it is the starting material for my sculptural interventions. Deeper-lying layers are touched by means of burning and abrading. Eyes move through gaps or disappear entirely. Exposed deep structures and superficialscratch marks open the closed system Body. The two-dimensional image becomes a three-dimensional structure. The associative space is expanded into the depth. Husk-like, mutilated, shot. These encroachments appear as an attack on human intactness and, alongside the spatial, lend the image a temporal dimension. A story arises, which, anchored spatially in the brochure, reflects the aggression of the intervention.

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In the series "WHAT IF?" the order of the existing series „Stops“ is broken. The pictures of the series are dismembered, demolished and remounted. The emerging spaces show a reality whose order of things is close to chaos. As if a whirlwind had swept over the images and rearranged the elements according to their own logic. The translucent paper at the cracks of some images, reinforces the fragmentary character of the work.

Landscape without stops


A bus stop marks a point in a landscape. A landscape that would give no motive for a landscape image. The removal of the bus stop by ruler and scalpel takes the most significant. Removes the core of the image. Cuts it out. A block of white light is created. A block that compels the viewer to complement. An operation that does not succeed, because the white light wants to be his own phenomenon and the environment does not want to be replenished.




Human integuments are in constant dialogue with their environment, on the one hand; on the other, they delimit themselves from the latter and form a shield against particular mechanical and chemical influences. A principle of protection and sealing that lends the human surface a certain stability of form, among other properties. In skin’s dialogic relationship with the environment, personalized contact surfaces are opened up to its wearer by courtesy of visual or tactile relatedness. Zones of subjective reality that model man. In Hans' digital constructions, partial elements of this skin-stable form are blended with textures from the man- produced world of objects. Hans arranges this clash of forms and textures as a unit, as a dialectic game between subject and object. Within this synthetic game of alternating object references, an aesthetic form unfolds that points functionally to an allegorically interpretable notion of “visual recombination”. The method arrives at congruity at the point where subject and object, as a result of fusion, generate a change in the register of attribution of meaning and generically safeguard the image’s category against appropriation as a result of the generated ambivalence.

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