AKT V/23 (La Déesse)
Oil and cut out on birch plywood
Unique
120 x 84 cm
2023
Signed on the back by artist
7.000 €
AKT V/23 (La Déesse) / Additional Details

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.

AKT VII/22 (Tired after a long night)
Oil and cut out on birch plywood
Unique
83 x 120 cm
2022
Signed on the back by the artist
7.000 €
AKT VII/22 (Tired after a long night) / Additional Details

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.

AKT IV/23 ("Man muss nicht schwimmen, nein, nur so tun, als gehöre man einfach zu Schottermassen")
Oil and cut out on birch plywood
Unique
120 x 84 cm
2023
Signed on the back by the artist
7.000 €
AKT IV/23 ("Man muss nicht schwimmen, nein, nur so tun, als gehöre man einfach zu Schottermassen") / Additional Details

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.

Vertreibung aus dem Paradies I/22
Oil on birch plywood
Unique
84 x 120 cm
2022
Signed on the byk by the artist
7.000 €
Vertreibung aus dem Paradies II/22
Oil on birch plywood
Unique
83 x 125 cm
2022
Signed on the byk by the artist
7.100 €
Vertreibung aus dem Paradies III/22
Oil and cut out on birch plywood
Unique
84 x 120 cm
2022
Signed on the byk by the artist
7.000 €
AKT II/22 (Hotel Esperanza)
Oil and cut out on birch plywood
Unique
125 x 83 cm
2022
Signed on the back by artist
7.100 €
AKT II/22 (Hotel Esperanza) / Additional Details

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.

AKT I/22 (Lasciviousness on a purple sofa)
Oil and cut out on birch plywood
Unique
21 x 30 cm
2022
Signed on the back by artist
Sold
AKT I/22 (Lasciviousness on a purple sofa) / Additional Details

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.

ohne Titel IV/20
Oil and cut out on birch plywood
Unique
21 x 30 cm
2020
Signed on the back by artist
Sold
ohne Titel IV/20 / Additional Details

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.

ohne Titel VI/20
Oil and cut out on birch plywood
Unique
21 x 30 cm
2020
Signed on the back by artist
Sold
ohne Titel VI/20 / Additional Details

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.

AKT II/23 ("J'ATTENDRAIS!"
Oil and cut out on birch plywood
Unique
120 x 83 cm
2023
Signed on the back by artist
7.000 €
AKT II/23 ("J'ATTENDRAIS!" / Additional Details

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.

ohne Titel VI/23
Oil and cut out on birch plywood
Unique
30 x 21 cm
2023
Signed on the back by artist
1.750 €
ohne Titel VI/23 / Additional Details

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.

AKT III/23
Oil and cut out on birch plywood
Unique
30 x 21 cm
2023
Signed on the back by artist
1.750 €
AKT III/23 / Additional Details

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.

AKT VI/22
Oil and cut out on birch plywood
Unique
120 x 83 cm
2022
Signed on the back by artist
7.000 €
AKT VI/22 / Additional Details

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.

ohne Titel V/22
Oil and cut out on birch plywood
Unique
30 x 42 cm
2022
Signed on the back by artist
2.450 €
ohne Titel V/22 / Additional Details

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.

ohne Titel III/22
Oil and cut out on birch plywood
Unique
120 x 84 cm
2022
Signed on the back by artist
7.000 €
ohne Titel III/22 / Additional Details

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.

ohne Titel VII/23
Oil and cut out on birch plywood
Unique
30 x 21 cm
2023
Signed on the back by artist
1.750 €
ohne Titel VII/23 / Additional Details

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.

AKT III/24 ("Will I be pretty, will I be rich")
Oil and cut out on birch plywood
Unique
125 x 83 cm
2024
Signed on the back by artist
7.100 €
AKT III/24 ("Will I be pretty, will I be rich") / Additional Details

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.

AKT I/24 (Sag mir, Spiegel, bin ich schön genug?)
Oil and cut out on birch plywood
Unique
125 x 83 cm
2024
Signed on the back by artist
7.100 €
AKT I/24 (Sag mir, Spiegel, bin ich schön genug?) / Additional Details

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.

Feuersturm VIII (Nacht über Nürnberg)
Oil on birch plywood
Unique
60 x 84 cm
2015
Signed on the byk by the artist
Sold
Reel #01
Oil and cut out on birch plywood
Unique
126 x 60 cm
2024
Signed on the back by artist
6.900 €
Reel #01 / Additional Details

What image do people show of themselves in public? How do they want to be perceived? Social media has completely changed our ability to draw and show a desired image of ourselves. In the end, the question arises: is it real or is it just a reel?

Reel #02
Oil and cut out on birch plywood
Unique
125 x 60 cm
2024
Signed on the back by artist
6.900 €
Reel #02 / Additional Details

What image do people show of themselves in public? How do they want to be perceived? Social media has completely changed our ability to draw and show a desired image of ourselves. In the end, the question arises: is it real or is it just a reel?

Reel #03
Oil and cut out on birch plywood
Unique
125 x 60 cm
2024
Signed on the back by artist
6.900 €
Reel #03 / Additional Details

What image do people show of themselves in public? How do they want to be perceived? Social media has completely changed our ability to draw and show a desired image of ourselves. In the end, the question arises: is it real or is it just a reel?