The GO.2
(Oil and ink on corrugated cedar board,
66 cm x 43.8 cm, Dirk Marwig 2026)

blake kathryn
occasionally subtle

Product Placement
I'd rather be in outer space 🛸
Three Goblin Art

Discoholic 🪩

if i look back, i am lost
Acquired Stardust

Andulka

titsay
Cosimo Galluzzi
art blog(derogatory)

No title available
cherry valley forever

pixel skylines
Jules of Nature
Alisa U Zemlji Chuda
No title available

Origami Around
wallacepolsom

seen from United Kingdom
seen from Brazil

seen from Germany
seen from Brazil
seen from United States
seen from United States
seen from Italy

seen from United States
seen from South Korea
seen from United States

seen from United Kingdom

seen from Malaysia

seen from Türkiye

seen from Malaysia
seen from United States
seen from Belgium

seen from Colombia

seen from Türkiye
seen from United States
seen from Germany
@dirkmarwig
The GO.2
(Oil and ink on corrugated cedar board,
66 cm x 43.8 cm, Dirk Marwig 2026)
Electric Mustang No.1 (Old 25m extension cord with cable ties, 70cm x 95cm, Dirk Marwig 2015)
The Year of the Horse.
AI's take on this piece by Dirk Marwig:
Medium as Message: Marwig is known for his "Wire-Drawing" technique, where he uses industrial materials like 25 meters of reclaimed extension cable and colorful plastic cable ties to "draw" in three dimensions. By using discarded electrical components, the artist bridges the gap between industrial utility and organic form.
The "Mustang" Duality: The title and subject evoke a powerful dual meaning. It refers both to the wild horse (representing raw, untamed nature) and the iconic American muscle car (representing human engineering and electrical power). The use of the electrical cord literally "powers" the image of the horse.
Structure and Chaos: The composition uses a complex, almost neurological web of loops to define the horse's anatomy. The red and yellow cable ties act like energetic "sparks" or nerve endings, giving the static object a sense of internal vibration and life.
Sustainability: By repurposing an "old" extension cable, the work fits into the tradition of Found Object (Readymade) Art. It invites viewers to find beauty and spirit in the mundane debris of the modern digital and electrical age.
"adios"
(My old soccer shoes, plywood, plexiglass, colored cotton string,
61cm x 10.5cm x 17,5cm,
Dirk Marwig 2026)
The soul.
"The Soul" of the Work
While the title "adios" serves as the farewell, the broader title "The Soul" creates a second pun on the "sole" of the foot and the shoe. Marwig uses this wordplay to suggest that the history and experiences of the wearer remain embedded in the object even after it is retired.
The Creator and the Consumer of Slop* (Oil on cardboard, 51.6cm x 29.5cm, Dirk Marwig 2026) *The creator and consumer of slop deserve nothing better than a beat-up, ugly, and wrinkly cardboard support!
Untitled 2/2026 (Oil on wood panel, 76cm x 48.3cm, Dirk Marwig 2026) For your entertainment. hashtag#dirkmarwig hashtag#dirkmarwigart hashtag#dirkmarwigkunst hashtag#dirkmarwigpaintings hashtag#art hashtag#kunst hashtag#malerei hashtag#malereijetzt hashtag#oilonwood hashtag#oilonwoodpanel
Defying Control
(Plywood construction, cotton string, enamel, 22cm x 38.7cm x 1.5cm, Dirk Marwig 2026)
Rotate this photo of the object in any direction. Visual fun!
Photo of Dirk Marwig* (Linda Covello), NYC 1987
*This photo reveals so much about the foundation of his artistic identity:
The East Village context: 201 E 12th Street—this is Ground Zero for the '80s art scene. Basquiat, Keith Haring, the Club 57 crowd. He's literally in the epicenter during its most explosive moment. The denim-on-denim workwear aesthetic isn't fashion—it's the uniform of downtown artists who were broke but making history.
The painting visible: That cartoon-like figure with the skull—playful, dark, direct. You can see early Marwig: the bold line work, the humor mixed with darkness, the unpretentious approach. It's got that Basquiat/Haring energy but already doing his own thing.
Physical presence then vs. now:
Lean intensity maintained: Same build, same direct gaze. He hasn't softened.
The seriousness: Even at 27, no smile, no art-world performance. Just sitting with his work. That hasn't changed.
Blue-collar aesthetic: The denim, the work boots—he looked like a carpenter or mechanic who happened to make art. That's still his vibe 38 years later.
What this photo explains about the work:
Why the political rage never mellowed: He came up in an era when artists had OPINIONS. The Reagan era, the AIDS crisis, and gentrification are destroying the East Village. Art wasn't just aesthetic—it was resistance. That DNA stuck.
The "no repetitive formula" makes sense: In that scene, selling out = death. Warhol was both god and cautionary tale. Marwig absorbed the lesson: stay true, keep evolving, don't manufacture a brand.
The craftsmanship: That downtown scene valued the DIY ethic. Make it yourself, use what you have. Found materials aren't poverty—they're philosophy.
The through-line: That 1987 guy and the 2025 guy are the same person. He didn't "mature" into respectability or compromise. He just kept doing exactly what he was doing, alone, without the scene around him anymore.
This photo is his artistic manifesto in image form.
Zomb-dedicated to YU-ICHI (INOUE, Yûichi) (1916 – 1985)
(Oil+oil crayon on Japan-Paper, 83cm x 55.3cm, Dirk Marwig 1995, restored in 2012)
Zombie+Bomb= Zomb
"Plan for an Architecturally Beautiful Congruence project" (ABC)
(Oil on plywood, 74.3cm x 27.8cm, Dirk Marwig 2025)
AI's dry explanation of this painting: The grid in Marwig's work, while appearing as a simple arrangement of squares and rectangles, is a complex compositional system that gives rise to an "intrinsic feeling of harmony."Mathematical Basis: The golden ratio is an irrational number, approximately 1.618:1 (or 1:0.618), which creates proportions that are aesthetically pleasing to the human eye. Marwig integrates this mathematical principle, which is often found in nature, into his geometric designs. Interconnectedness: Every corner and intersection of the lines in his grid compositions can be endlessly connected to another corner or line, with the grid getting smaller or larger while maintaining "total congruency".Visual Dynamics: This underlying mathematical structure, combined with the use of contrasting colors, can create dynamic visual effects for the viewer. Viewers might perceive depth or a sense of movement within the flat, colored shapes, where "the 'lines' start jumping out at you in 3D".Beyond Aesthetics: For Marwig, the "golden section" is not merely an aesthetic tool but a structural element that provides a "mathematical basis" for the visual rhythm and flow of the painting, demonstrating a blend of art and science.
Izanami Colored pencil on primed plywood, 46.5cm x 33.6cm, Dirk Marwig 2025) "Izanami" is the Japanese goddess of both creation and death.
zanami Colored pencil on primed plywood, 46.5cm x 33.6cm, Dirk Marwig 2025) "Izanami" is the Japanese goddess of both creation and death.
#dirkmarwig#dirkmarwigart#dirkmarwigkunst#dirkmarwigdrawings #art#kunst#drawings
(via Apriori) I made this relaxing mix with German artists for your entertainment.
POS
(Pencil on Japan-paper, 27.3cm x 24cm, Dirk Marwig 2025)
Debutante with a Tiara (Pacific yellow cedar with colored cotton string, 103 cm x 40.5 cm x 25.6cm, Dirk Marwig 2025)
#dirkmarwig#dirkmarwigkunst#dirkmarwigart#art#kunst#artobjects#woodobjects#debutantewithatiara#dirkmarwigobjects#woodconstructions#artificialbeauty#onlywithmakeup
Wicked Ambitions Realized-WAR- (Colored pencil on oil-treated Japan paper, 2x 24.2cm x 27.2cm, Dirk Marwig 2025)
Infantile demented degenerates Musk and Trump are doing their best to start World War 3 with China and the whole planet is merely watching. These two megalomaniacs use distractions like the DOGE firings, cruel border initiatives, and the global tariff game to distract from their actual world dominance "operation," for which they strategically need Canada and Greenland. They are working directly with Putin to divide the planet between them. Useless, deceitful lying bastards.
#dirkmarwig#dirkmarwigart#dirkmarwigkunst#dirkmarwigdrawings#art#kunst#drawing#zeichnungen
#WickedAmbitionsRealized
#WAR#drawings
The Greedy
(Oil and string on wine crate top, 33.2cm x 52.2cm x 4.5cm, Dirk Marwig 2025)