Gerhard Mantz - Forbidden Harmony, 2016
Gerhard Mantz – Forbidden Harmony, 2016
Modern digital art. This large-format digital composite presents a light-flooded, meditative water landscape in which the boundaries between gravity and reflection seem to be suspended. At the centre of the composition, a youthful, naked figure floats above the water’s surface in a dynamic, almost dance-like pose, gazing at herself in the reflective water. The anatomy is rendered with cool, digital perfection, giving the scene an otherworldly, almost artificial aura. Size: 180 x 100 cm. High-quality digital print (inkjet) on canvas. From the artist’s estate.
Gerhard Mantz (*1950, Neu-Ulm – 2021) recognized the artistic possibilities of computer technology early on and was able to use it for his works with talent. Mantz studied at the Karlsruhe Art Academy from 1970-75 and moved to Berlin in the 1980s, where he also had many exhibitions. In his early years, Mantz still created real objects, sculptures made of acrylic, MDF, wood and other materials. In order to expand the limited spectrum of tangible reality, he increasingly focused on virtual objects in the 1990s and 2000s and mainly created digital art. This led to dematerialization. The artist also gained international recognition for his digital art. His works have been exhibited throughout Europe and the USA.
Among others, 1985 Künstlerhaus Bethanien, 1988 Georg Kolbe Museum Berlin, 1989 Contemporary Art Center Osaka, 1990 Karl Bornstein Gallery, Los Angeles, 1999 Brandts Klædefabrik, Odense, 2008 P.S.1 Contemporary Art Center – Museum of Modern Art (MoMA) New York, 2014 Rosier Gallery, Berkeley, 2016 Galerie Hammelehle und Ahrens Köln in St. Gertrud, and most recently increasingly at the Till Richter Museum in Buggenhagen Castle with his last impressive work cycle “Avatars”. These figures are often depicted as adolescents or adolescents and often show them in surreal scenes. The undressing of the figures serves to emphasize their vulnerability; they remain encapsulated in emotional situations and implied stories. Some of the pictorial compositions borrow from art history, referencing Caravaggio, Jan Vermeer van Delft, Antonio Mancini or the controversial artist Balthus. More detailed biography on the artist’s homepage www.gerhard-mantz.de
Gerhard Mantz – Forbidden Harmony, 2016
Modern digital art. This large-format digital composite presents a light-flooded, meditative water landscape in which the boundaries between gravity and reflection seem to be suspended. At the centre of the composition, a youthful, naked figure floats above the water’s surface in a dynamic, almost dance-like pose, gazing at herself in the reflective water. The anatomy is rendered with cool, digital perfection, giving the scene an otherworldly, almost artificial aura. Size: 180 x 100 cm. High-quality digital print (inkjet) on canvas. From the artist’s estate.
Gerhard Mantz (*1950, Neu-Ulm – 2021) recognized the artistic possibilities of computer technology early on and was able to use it for his works with talent. Mantz studied at the Karlsruhe Art Academy from 1970-75 and moved to Berlin in the 1980s, where he also had many exhibitions. In his early years, Mantz still created real objects, sculptures made of acrylic, MDF, wood and other materials. In order to expand the limited spectrum of tangible reality, he increasingly focused on virtual objects in the 1990s and 2000s and mainly created digital art. This led to dematerialization. The artist also gained international recognition for his digital art. His works have been exhibited throughout Europe and the USA.
Among others, 1985 Künstlerhaus Bethanien, 1988 Georg Kolbe Museum Berlin, 1989 Contemporary Art Center Osaka, 1990 Karl Bornstein Gallery, Los Angeles, 1999 Brandts Klædefabrik, Odense, 2008 P.S.1 Contemporary Art Center – Museum of Modern Art (MoMA) New York, 2014 Rosier Gallery, Berkeley, 2016 Galerie Hammelehle und Ahrens Köln in St. Gertrud, and most recently increasingly at the Till Richter Museum in Buggenhagen Castle with his last impressive work cycle “Avatars”. These figures are often depicted as adolescents or adolescents and often show them in surreal scenes. The undressing of the figures serves to emphasize their vulnerability; they remain encapsulated in emotional situations and implied stories. Some of the pictorial compositions borrow from art history, referencing Caravaggio, Jan Vermeer van Delft, Antonio Mancini or the controversial artist Balthus. More detailed biography on the artist’s homepage www.gerhard-mantz.de
