#petervahlefeld

[art-now-germany]

New York Art Evening Auction #4, Peter Vahlefeld

Oxidized pigments (aluminium, copper, gold, iron), water-based medium, oil, tape, archival pigment prints (collage) on canvas. The painting functions as a self-perpetuating visual event—a never ending painting over and extinction of the subject matter (an overpainted auction advertisement). Pigments like gold, silver, copper, aluminium, and iron mixed with water-based mediums are the starting point for the painting on canvas. The color constantly challenges the viewer's eye through oxidization, their different facets, their shading, and the juxtaposition of different hues, and undertones. The obliteration of the motif by gigantic brushstrokes as a performative process of dragging, scraping, combing, raking and squeegeeing paint, pigments, and mediums across the surface becomes the subject matter of the painting.

https://www.saatchiart.com/art/Painting-New-York-Art-Evening-Auction-4/298854/4295758/view

[art-now-germany]

The Corporatization of Culture #3, Peter Vahlefeld

Acrylic, acrylic based medium, archival varnish UV protection, fabrics, oil, and archival pigment prints (collage) on canvas. The artwork comes ready to hang. The canvas is collaged with digital printouts of an overpainted museum cover that form the foundation of the painting and eventually fuses with the painted surface, composed of seemingly informal gestures. The overpainting on canvas of an overpainted museum cover playfully demonstrates the way icons produce multiple significations, superimposing layers of meaning, reflecting on the relationship between the visual and the verbal in the field of art history. Nothing coheres in a way that could be said to have substantive narrative dimension or pictorial legibility, except for visible stops and starts that prod the limits of content.

https://www.saatchiart.com/art/Painting-The-Corporatization-of-Culture-3/298854/3937380/view

[art-now-germany]

Warhol Marilyn Pocket Journal, Peter Vahlefeld

Acrylic, acrylic based medium, archival varnish UV protection, oil, and pigmented Ultrachrome inkjet prints (collage) on canvas. The piece comes ready to hang. Creating an abstract composition by mixing pigmented inkjet prints of an over-painted museum shop merchandising, and paint on canvas, the work highlights the juxtaposition of color, form, and texture. It explores the manipulation and repurposing of images in order to destabilize issues of branding and advertising. Nearly recognizable logos share space with ad text and graphics hand-painted onto the canvas.

https://www.saatchiart.com/art/Painting-Warhol-Marilyn-Pocket-Journal/298854/3294156/view

[art-now-germany]

ORIGINAL SOLD, Peter Vahlefeld

Peter Vahlefeld explores the currency of media images as a platform to fuck them up. By painting lushly on top of advertisements for international galleries and auction houses, he is expropriating their surface, language, and semantics. Hijacking material from the public domain and obscuring them, Vahlefeld further complicates the everyday transaction of images by taking away the content they are supposed to advertise. In this case he has ferociously overpainted a »Christie´s« advertisement until it was no longer recognizable.

https://www.saatchiart.com/art/Collage-ORIGINAL-SOLD/298854/1688456/view

[art-now-germany]

Abstract Composition with Dollar Sign, Peter Vahlefeld

Acrylic, acrylic based medium, enamel, archival varnish UV protection, fabrics, oil, and archival pigment prints (collage) on canvas. The artwork comes ready to hang. The canvas is collaged with digital printouts of an overpainted museum catalogue page that form the foundation of the painting and fuses with the painted surface, composed of seemingly informal gestures. The overpainting on canvas playfully demonstrates the way icons produce multiple significations, superimposing layers of meaning, reflecting on the relationship between the visual and the verbal in the field of art history. Nothing coheres in a way that could be said to have substantive narrative dimension or pictorial legibility, except for visible stops and starts that prod the limits of content.

https://www.saatchiart.com/art/Painting-Abstract-Composition-with-Dollar-Sign/298854/4168843/view

[art-now-germany]

Museum Shop Fridge Magnet Sunflowers, Peter Vahlefeld

Acrylic, acrylic based medium, archival varnish UV protection, oil and pigmented Epson UltraChrome K3 inkjet prints (collage) on canvas. The basis of the artwork is an over-painted museum shop fridge magnet of a Vincent van Gogh's sunflowers exhibition, superimposed onto an advertisement for an art fair. Taking a direct approach by expropriating printed matter, the concept is to tackle the subject of media's pursuit of commodity and turn it inside out. Built up in sensuous layers of pigmented inkjet prints and paint (acrylic, oil, spray paint, collage), which solidifies with the aid of a binder, the work takes on an almost sculptural character. Unlike on the computer, where the functional logic is based on described rules, the material on canvas becomes the topic as a sequence of actions. To put painting as a contemporary pictorial medium to the test, the artwork is inspired by the mechanical use of silkscreen by artists like Robert Rauschenberg and Andy Warhol. It replaces silkscreen printing with the relatively new process of inkjet printing.

https://www.saatchiart.com/art/Painting-Museum-Shop-Fridge-Magnet-Sunflowers/298854/2411009/view

[art-now-germany]

Re-assembled Hermitage #1, Peter Vahlefeld

Acrylic, acrylic based medium, archival varnish UV protection, oil, and archival pigment prints (collage) on canvas. The artwork comes ready to hang. The painting began as an overpainting of a printed magazine page, which was scanned, digitally manipulated, reworked, printed out and then further altered with top layers of paint and prints on canvas. The smudged passages of oil paint atop fragments of prints defacing parts of the canvas become something like the ground of the composition. Always painting out certain areas, and then reprinting them, the process becomes both additive and reductive and will accomplish itself in the idea of a layered surface as a kind of event. I state something, then I undermine it. I make a proposition then I reject it. I embrace the whole and let the parts explode to re-assemble the painting again and again and again.

https://www.saatchiart.com/art/Painting-Re-assembled-Hermitage-1/298854/4209707/view

[art-now-germany]

Marketing Campaign Jeff Koons, Peter Vahlefeld

Acrylic, acrylic based medium, archival varnish UV protection, oil, and pigmented inkjet prints (collage) on canvas. The piece comes ready to hang. I employ analog and digital painting techniques to translate an over-painted advertisement of Jeff Koons into a picture on pictures. The work makes use of the simultaneous and simulated potential of our digitalized present and mirrors it without any false sentiment. The over-painting serves as an under-painting that loops behind expressionist brushwork. The painting mimics basic commercial graphic language like image, logo and text.

https://www.saatchiart.com/art/Painting-Marketing-Campaign-Jeff-Koons/298854/3502041/view