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• Nudes
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Nudes

How can the artistic act be made interesting and new in a time of sensory overload due to the ubiquitous depiction of nudity? Blunk has been addressing this question for a long time. A possible answer - his answer - is the idea of making the figure disappear from his oil paintings by carving it out of the picture support at the end of the painting process. Instead of recognizable individuals, abstract surfaces are created in the wood. These enable the viewer to interpret the figure in their own way.

At the same time, this technique questions our viewing habits and our deeply stored ideals of beauty. Because the carved figures in Blunk's nudes can be read as ideal-typical bodies that move in classical pictorial spaces. The viewer often thinks he recognizes them immediately, since he encounters them every day in fashion photography, but also in television and cinema, in erotic or pornographic photography. At first glance, Blunk walks the fine line between kitsch and over-aestheticized eroticism. At second glance - and this is where his superficial statement breaks - the artist leads us into our own visual memory, which allows us to fill the empty projection surfaces with great certainty. In this way, our subconscious ideas of beauty and youth, of self-optimization and diet mania are questioned.

How can the artistic act be made interesting and new in a time of sensory overload due to the ubiquitous depiction of nudity? Blunk has been addressing this question for a long time. A possible answer - his answer - is the idea of making the figure disappear from his oil paintings by carving it out of the picture support at the end of the painting process. Instead of recognizable individuals, abstract surfaces are created in the wood. These enable the viewer to interpret the figure in their own way.

At the same time, this technique questions our viewing habits and our deeply stored ideals of beauty. Because the carved figures in Blunk's nudes can be read as ideal-typical bodies that move in classical pictorial spaces. The viewer often thinks he recognizes them immediately, since he encounters them every day in fashion photography, but also in television and cinema, in erotic or pornographic photography. At first glance, Blunk walks the fine line between kitsch and over-aestheticized eroticism. At second glance - and this is where his superficial statement breaks - the artist leads us into our own visual memory, which allows us to fill the empty projection surfaces with great certainty. In this way, our subconscious ideas of beauty and youth, of self-optimization and diet mania are questioned.

How can the artistic act be made interesting and new in a time of sensory overload due to the ubiquitous depiction of nudity? Blunk has been addressing this question for a long time. A possible answer - his answer - is the idea of making the figure disappear from his oil paintings by carving it out of the picture support at the end of the painting process. Instead of recognizable individuals, abstract surfaces are created in the wood. These enable the viewer to interpret the figure in their own way.

At the same time, this technique questions our viewing habits and our deeply stored ideals of beauty. Because the carved figures in Blunk's nudes can be read as ideal-typical bodies that move in classical pictorial spaces. The viewer often thinks he recognizes them immediately, since he encounters them every day in fashion photography, but also in television and cinema, in erotic or pornographic photography. At first glance, Blunk walks the fine line between kitsch and over-aestheticized eroticism. At second glance - and this is where his superficial statement breaks - the artist leads us into our own visual memory, which allows us to fill the empty projection surfaces with great certainty. In this way, our subconscious ideas of beauty and youth, of self-optimization and diet mania are questioned.

How can the artistic act be made interesting and new in a time of sensory overload due to the ubiquitous depiction of nudity? Blunk has been addressing this question for a long time. A possible answer - his answer - is the idea of making the figure disappear from his oil paintings by carving it out of the picture support at the end of the painting process. Instead of recognizable individuals, abstract surfaces are created in the wood. These enable the viewer to interpret the figure in their own way.

At the same time, this technique questions our viewing habits and our deeply stored ideals of beauty. Because the carved figures in Blunk's nudes can be read as ideal-typical bodies that move in classical pictorial spaces. The viewer often thinks he recognizes them immediately, since he encounters them every day in fashion photography, but also in television and cinema, in erotic or pornographic photography. At first glance, Blunk walks the fine line between kitsch and over-aestheticized eroticism. At second glance - and this is where his superficial statement breaks - the artist leads us into our own visual memory, which allows us to fill the empty projection surfaces with great certainty. In this way, our subconscious ideas of beauty and youth, of self-optimization and diet mania are questioned.

How can the artistic act be made interesting and new in a time of sensory overload due to the ubiquitous depiction of nudity? Blunk has been addressing this question for a long time. A possible answer - his answer - is the idea of making the figure disappear from his oil paintings by carving it out of the picture support at the end of the painting process. Instead of recognizable individuals, abstract surfaces are created in the wood. These enable the viewer to interpret the figure in their own way.

At the same time, this technique questions our viewing habits and our deeply stored ideals of beauty. Because the carved figures in Blunk's nudes can be read as ideal-typical bodies that move in classical pictorial spaces. The viewer often thinks he recognizes them immediately, since he encounters them every day in fashion photography, but also in television and cinema, in erotic or pornographic photography. At first glance, Blunk walks the fine line between kitsch and over-aestheticized eroticism. At second glance - and this is where his superficial statement breaks - the artist leads us into our own visual memory, which allows us to fill the empty projection surfaces with great certainty. In this way, our subconscious ideas of beauty and youth, of self-optimization and diet mania are questioned.

How can the artistic act be made interesting and new in a time of sensory overload due to the ubiquitous depiction of nudity? Blunk has been addressing this question for a long time. A possible answer - his answer - is the idea of making the figure disappear from his oil paintings by carving it out of the picture support at the end of the painting process. Instead of recognizable individuals, abstract surfaces are created in the wood. These enable the viewer to interpret the figure in their own way.

At the same time, this technique questions our viewing habits and our deeply stored ideals of beauty. Because the carved figures in Blunk's nudes can be read as ideal-typical bodies that move in classical pictorial spaces. The viewer often thinks he recognizes them immediately, since he encounters them every day in fashion photography, but also in television and cinema, in erotic or pornographic photography. At first glance, Blunk walks the fine line between kitsch and over-aestheticized eroticism. At second glance - and this is where his superficial statement breaks - the artist leads us into our own visual memory, which allows us to fill the empty projection surfaces with great certainty. In this way, our subconscious ideas of beauty and youth, of self-optimization and diet mania are questioned.

How can the artistic act be made interesting and new in a time of sensory overload due to the ubiquitous depiction of nudity? Blunk has been addressing this question for a long time. A possible answer - his answer - is the idea of making the figure disappear from his oil paintings by carving it out of the picture support at the end of the painting process. Instead of recognizable individuals, abstract surfaces are created in the wood. These enable the viewer to interpret the figure in their own way.

At the same time, this technique questions our viewing habits and our deeply stored ideals of beauty. Because the carved figures in Blunk's nudes can be read as ideal-typical bodies that move in classical pictorial spaces. The viewer often thinks he recognizes them immediately, since he encounters them every day in fashion photography, but also in television and cinema, in erotic or pornographic photography. At first glance, Blunk walks the fine line between kitsch and over-aestheticized eroticism. At second glance - and this is where his superficial statement breaks - the artist leads us into our own visual memory, which allows us to fill the empty projection surfaces with great certainty. In this way, our subconscious ideas of beauty and youth, of self-optimization and diet mania are questioned.

How can the artistic act be made interesting and new in a time of sensory overload due to the ubiquitous depiction of nudity? Blunk has been addressing this question for a long time. A possible answer - his answer - is the idea of making the figure disappear from his oil paintings by carving it out of the picture support at the end of the painting process. Instead of recognizable individuals, abstract surfaces are created in the wood. These enable the viewer to interpret the figure in their own way.

At the same time, this technique questions our viewing habits and our deeply stored ideals of beauty. Because the carved figures in Blunk's nudes can be read as ideal-typical bodies that move in classical pictorial spaces. The viewer often thinks he recognizes them immediately, since he encounters them every day in fashion photography, but also in television and cinema, in erotic or pornographic photography. At first glance, Blunk walks the fine line between kitsch and over-aestheticized eroticism. At second glance - and this is where his superficial statement breaks - the artist leads us into our own visual memory, which allows us to fill the empty projection surfaces with great certainty. In this way, our subconscious ideas of beauty and youth, of self-optimization and diet mania are questioned.

How can the artistic act be made interesting and new in a time of sensory overload due to the ubiquitous depiction of nudity? Blunk has been addressing this question for a long time. A possible answer - his answer - is the idea of making the figure disappear from his oil paintings by carving it out of the picture support at the end of the painting process. Instead of recognizable individuals, abstract surfaces are created in the wood. These enable the viewer to interpret the figure in their own way.

At the same time, this technique questions our viewing habits and our deeply stored ideals of beauty. Because the carved figures in Blunk's nudes can be read as ideal-typical bodies that move in classical pictorial spaces. The viewer often thinks he recognizes them immediately, since he encounters them every day in fashion photography, but also in television and cinema, in erotic or pornographic photography. At first glance, Blunk walks the fine line between kitsch and over-aestheticized eroticism. At second glance - and this is where his superficial statement breaks - the artist leads us into our own visual memory, which allows us to fill the empty projection surfaces with great certainty. In this way, our subconscious ideas of beauty and youth, of self-optimization and diet mania are questioned.

How can the artistic act be made interesting and new in a time of sensory overload due to the ubiquitous depiction of nudity? Blunk has been addressing this question for a long time. A possible answer - his answer - is the idea of making the figure disappear from his oil paintings by carving it out of the picture support at the end of the painting process. Instead of recognizable individuals, abstract surfaces are created in the wood. These enable the viewer to interpret the figure in their own way.

At the same time, this technique questions our viewing habits and our deeply stored ideals of beauty. Because the carved figures in Blunk's nudes can be read as ideal-typical bodies that move in classical pictorial spaces. The viewer often thinks he recognizes them immediately, since he encounters them every day in fashion photography, but also in television and cinema, in erotic or pornographic photography. At first glance, Blunk walks the fine line between kitsch and over-aestheticized eroticism. At second glance - and this is where his superficial statement breaks - the artist leads us into our own visual memory, which allows us to fill the empty projection surfaces with great certainty. In this way, our subconscious ideas of beauty and youth, of self-optimization and diet mania are questioned.

How can the artistic act be made interesting and new in a time of sensory overload due to the ubiquitous depiction of nudity? Blunk has been addressing this question for a long time. A possible answer - his answer - is the idea of making the figure disappear from his oil paintings by carving it out of the picture support at the end of the painting process. Instead of recognizable individuals, abstract surfaces are created in the wood. These enable the viewer to interpret the figure in their own way.

At the same time, this technique questions our viewing habits and our deeply stored ideals of beauty. Because the carved figures in Blunk's nudes can be read as ideal-typical bodies that move in classical pictorial spaces. The viewer often thinks he recognizes them immediately, since he encounters them every day in fashion photography, but also in television and cinema, in erotic or pornographic photography. At first glance, Blunk walks the fine line between kitsch and over-aestheticized eroticism. At second glance - and this is where his superficial statement breaks - the artist leads us into our own visual memory, which allows us to fill the empty projection surfaces with great certainty. In this way, our subconscious ideas of beauty and youth, of self-optimization and diet mania are questioned.

How can the artistic act be made interesting and new in a time of sensory overload due to the ubiquitous depiction of nudity? Blunk has been addressing this question for a long time. A possible answer - his answer - is the idea of making the figure disappear from his oil paintings by carving it out of the picture support at the end of the painting process. Instead of recognizable individuals, abstract surfaces are created in the wood. These enable the viewer to interpret the figure in their own way.

At the same time, this technique questions our viewing habits and our deeply stored ideals of beauty. Because the carved figures in Blunk's nudes can be read as ideal-typical bodies that move in classical pictorial spaces. The viewer often thinks he recognizes them immediately, since he encounters them every day in fashion photography, but also in television and cinema, in erotic or pornographic photography. At first glance, Blunk walks the fine line between kitsch and over-aestheticized eroticism. At second glance - and this is where his superficial statement breaks - the artist leads us into our own visual memory, which allows us to fill the empty projection surfaces with great certainty. In this way, our subconscious ideas of beauty and youth, of self-optimization and diet mania are questioned.

How can the artistic act be made interesting and new in a time of sensory overload due to the ubiquitous depiction of nudity? Blunk has been addressing this question for a long time. A possible answer - his answer - is the idea of making the figure disappear from his oil paintings by carving it out of the picture support at the end of the painting process. Instead of recognizable individuals, abstract surfaces are created in the wood. These enable the viewer to interpret the figure in their own way.

At the same time, this technique questions our viewing habits and our deeply stored ideals of beauty. Because the carved figures in Blunk's nudes can be read as ideal-typical bodies that move in classical pictorial spaces. The viewer often thinks he recognizes them immediately, since he encounters them every day in fashion photography, but also in television and cinema, in erotic or pornographic photography. At first glance, Blunk walks the fine line between kitsch and over-aestheticized eroticism. At second glance - and this is where his superficial statement breaks - the artist leads us into our own visual memory, which allows us to fill the empty projection surfaces with great certainty. In this way, our subconscious ideas of beauty and youth, of self-optimization and diet mania are questioned.

How can the artistic act be made interesting and new in a time of sensory overload due to the ubiquitous depiction of nudity? Blunk has been addressing this question for a long time. A possible answer - his answer - is the idea of making the figure disappear from his oil paintings by carving it out of the picture support at the end of the painting process. Instead of recognizable individuals, abstract surfaces are created in the wood. These enable the viewer to interpret the figure in their own way.

At the same time, this technique questions our viewing habits and our deeply stored ideals of beauty. Because the carved figures in Blunk's nudes can be read as ideal-typical bodies that move in classical pictorial spaces. The viewer often thinks he recognizes them immediately, since he encounters them every day in fashion photography, but also in television and cinema, in erotic or pornographic photography. At first glance, Blunk walks the fine line between kitsch and over-aestheticized eroticism. At second glance - and this is where his superficial statement breaks - the artist leads us into our own visual memory, which allows us to fill the empty projection surfaces with great certainty. In this way, our subconscious ideas of beauty and youth, of self-optimization and diet mania are questioned.

How can the artistic act be made interesting and new in a time of sensory overload due to the ubiquitous depiction of nudity? Blunk has been addressing this question for a long time. A possible answer - his answer - is the idea of making the figure disappear from his oil paintings by carving it out of the picture support at the end of the painting process. Instead of recognizable individuals, abstract surfaces are created in the wood. These enable the viewer to interpret the figure in their own way.

At the same time, this technique questions our viewing habits and our deeply stored ideals of beauty. Because the carved figures in Blunk's nudes can be read as ideal-typical bodies that move in classical pictorial spaces. The viewer often thinks he recognizes them immediately, since he encounters them every day in fashion photography, but also in television and cinema, in erotic or pornographic photography. At first glance, Blunk walks the fine line between kitsch and over-aestheticized eroticism. At second glance - and this is where his superficial statement breaks - the artist leads us into our own visual memory, which allows us to fill the empty projection surfaces with great certainty. In this way, our subconscious ideas of beauty and youth, of self-optimization and diet mania are questioned.

How can the artistic act be made interesting and new in a time of sensory overload due to the ubiquitous depiction of nudity? Blunk has been addressing this question for a long time. A possible answer - his answer - is the idea of making the figure disappear from his oil paintings by carving it out of the picture support at the end of the painting process. Instead of recognizable individuals, abstract surfaces are created in the wood. These enable the viewer to interpret the figure in their own way.

At the same time, this technique questions our viewing habits and our deeply stored ideals of beauty. Because the carved figures in Blunk's nudes can be read as ideal-typical bodies that move in classical pictorial spaces. The viewer often thinks he recognizes them immediately, since he encounters them every day in fashion photography, but also in television and cinema, in erotic or pornographic photography. At first glance, Blunk walks the fine line between kitsch and over-aestheticized eroticism. At second glance - and this is where his superficial statement breaks - the artist leads us into our own visual memory, which allows us to fill the empty projection surfaces with great certainty. In this way, our subconscious ideas of beauty and youth, of self-optimization and diet mania are questioned.