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Showing posts with label works on paper. Show all posts
Showing posts with label works on paper. Show all posts

Wednesday, August 09, 2017

PAN & THE DREAM MAGAZINE / Censor Sensual series, 2016


Pan & The Dream Magazine #1 - The Emperor's New Clothes, 2017

Excited and honored that my 'Censor Sensual' series is included in the first issue of PAN & THE DREAM Magazine! And to find myself sandwiched between Nadav Kander and Nick Knight on the back cover ;)
The issue concerns itself with the naked form, and is a statement defying the current wave of commercial puritanism and the mishandling of censorship in social media. I made a series on the fe/male nipple hypocrisy on social media, and sadly ironically that point is proven by the fact that I'm only allowed to share the male versions... The magazine, which features the work of over 60 artists, is available for sale, for more info see web link here. 
All images: From the Censor Sensual series, 2016, acrylic, ink on magazine page.



Pan & The Dream Magazine #1 - The Emperor's New Clothes, 2017


Pan & The Dream Magazine #1 - The Emperor's New Clothes, 2017

Pan & The Dream Magazine #1 - The Emperor's New Clothes, 2017

Pan & The Dream Magazine #1 - The Emperor's New Clothes, 2017

Pan & The Dream Magazine #1 - The Emperor's New Clothes, 2017, back cover

Michiel Keuper - Censor Sensual series, 2016, acrylic, ink on magazine page
(Photo by Hasse Nielsen, Dansk Magazine SS07) 

Michiel Keuper - Censor Sensual series, 2016, acrylic, ink on magazine page
(unidentified magazine)

Michiel Keuper - Censor Sensual series, 2016, acrylic, ink on magazine page
(Photo by Dancian, Zoo Magazine No. 21, 2008/2009)

Michiel Keuper - Censor Sensual series, 2016, acrylic, ink on magazine page
(Photo by Matt Lambert, Sleek Magazine No. 40)
Michiel Keuper - Censor Sensual series, 2016, acrylic, ink on magazine page
(Photo by Chad Pitman, GQ Style Germany FW 2013-14)








Saturday, February 11, 2017

JOSEPH Le Blog / Picture This - interview

JOSEPH Le Blog - Picture This // Michiel Keuper - screen shot


My Instagram account is featured in the section Picture This on JOSEPH Le Blog; for link click here.
Below the full interview about images that catch my eye, how I juxtapose my account and why I coined the term visual composer to describe my work.


Michiel Keuper - Untitled, 2016, acrylic and ink on magazine.

WHAT CATCHES AND HOLDS YOUR EYE?
I am fascinated by juxtapositions. Juxtapositions of color, material, content, atmosphere and often a combination of them all. The moment when single components add up and create something unexpected, something new. The moment when 1 + 1 becomes 3. The moment when the sum is greater than the parts.
My Instagram posts are often spontaneous, but never random. Though I never post something I don't like to start with, for my IG account I select images for how they relate to each other in the grid, and not so much for their single value. In fact I spend most of the time in my image files and not in the app itself. I spend hours shuffling and reshuffling my preselection until I find a satisfying order. This is a rather intuitive process, almost like painting. Often the order changes per day. Each post evokes a next one. Sometimes I find images that I love and I'm dying to post, but when they don't fit the stream I keep them in the mix for days or even weeks. Often it means I'll have to find other images first, to complement them. It's a matter of patience and restraint, waiting for the right moment.
[text continues after the image]


JOSEPH Le Blog - Picture This // Michiel Keuper - screen shot

It's almost like making a puzzle. I often call it my daily image sudoku. Because not only do the single images relate to their left and right neighbors, the IG grid changes order with every post, it creates horizontal, vertical and diagonal connections. It's about finding a rhythm, a stream, it's about the total. After a while I started to realize that my IG gallery as such has become a work in itself. The sum is greater than the parts.

One of my favorite books is the facsimile of Hannah Höch's 'Album' from 1933, in which she magnificently juxtaposes found imagery. Inspired by her I made collage books as well. My Instagram has become a digital version of that same idea.

[text continues after the image]


JOSEPH Le Blog - Picture This // Michiel Keuper - screen shot


WHAT PROPERTIES OR QUALITIES DOES A GREAT IMAGE NEED?

Initially my eye gets hooked on the composition of an image, the use (or lack) of color, the atmosphere, emotion or content it conveys. Furthermore, for my IG specifically, I select images that will work on a thumbnail format, since most people use IG on the small screen of their phone. Generally I'm drawn to lesser known images and artists. Therefore I try to be as accurate as possible with credits. Occasionally I post my own work, but only when it fits in the stream.
[text continues after the image]


Michiel Keuper - Untitled, 2016, acrylic and ink on magazine.


WHAT EXACTLY IS A VISUAL COMPOSER?

I coined the term visual composer, because in essence this is the red thread that connects my work: it's always visual and I'm composing images. Working in many fields, using various media, blurring the lines between art, design, performance etc., I guess I've become kind of a hybrid creator. Whether I create fragmented designs like I used to do in my Paris times, compose an image on a canvas or on a T-shirt, create a spatial design for a dance performance, or juxtapose images on my Instagram account, I'm making visual compositions. 


JOSEPH Le Blog - Picture This // Michiel Keuper - screen shot









JOSEPH Le Blog - Picture This // Michiel Keuper - screen shot











Friday, December 16, 2016

Dapper Dan #14/ Opinions & Inspirations contribution

Dapper Dan  #14, 2016/2017, cover

In the summer I was invited to contribute to Dapper Dan's Opinions & Inspirations section for their upcoming issue. I immediately thought of my first series of over-paintings I made when I transitioned from working in the fashion industry towards an autonomous way of working.

The issue just came out. Very happy to see my story and image in print. 
Thank you Dapper Dan!


Michiel Keuper - From the Past Present (Past Presence) series, 2010, ink and acrylic on magazine


My story to the image: 


BALANCE

In October 1989, during my first months in college, I read an interview with neurobiologist and Nobel prize winner Rita Levi-Montalcini, then 80. What resonated with me most was her interpretation of ‘The Choice’ by William Butler Yeats, a poem she quotes in her autobiography;

The intellect of man is forced to choose/ 
Perfection of the life, or of the work,/ 
And if it take the second must refuse/ 
A heavenly mansion, raging in the dark./ 
When all that story's finished, what's the news?/ 
In luck or out the toil has left its mark:/ 
That old perplexity an empty purse,/ 
Or the day's vanity, the night's remorse.

Levi-Montalcini: “Yeats gives you two options. Either you choose perfection in your work, with as a reward recognition but at night remorse. Or you lead a calm and serene life, without success and at the end an empty purse. I’ve always refused to make that choice, with as a result deficiency in my work ánd in my life.” 

In 2009, after studying and working in fashion for 20 years, the meaning of Yeats’ poem became evident to me once again. Being absorbed by working in the industry, I guess I suddenly realized I didn’t want to end up having remorse at night for all the things I’d always wanted to do but never allowed myself time for. Painting was one of those things. 

That first year away from my designer life in overdrive, I started a series of works on paper, initially as research for later paintings, using fashion magazines I had amassed over the years. In the Black Series – Past Present (Past Presence) I erased fashion references from magazine pages. An attempt to re-view my past and to find new access to known sources, to create new images from the old.



- Michiel Keuper, visual composer 




Dapper Dan #14 - Opinions and Inspirations Section, spread Glenn Martens (left), Michiel Keuper (right)

Dapper Dan #14 - Michiel Keuper
contribution Opinions and Inspirations Section

Dapper Dan #14, 2016/2017, cover

Thursday, May 15, 2014

Gouache on Paper / november 2013

Michiel Keuper - Untitled, 2013, gouache on paper, 29.7x21cm

Michiel Keuper - Untitled, 2013, gouache on paper, 29.7x21cm

Michiel Keuper - Untitled, 2013, gouache on paper, 29.7x21cm


Michiel Keuper - Untitled, 2013, gouache on paper, 29.7x21cm










Monday, February 03, 2014

Gouache on Paper / november 2013

Michiel Keuper - Untitled, 2013, gouache on paper, 29.7 x 21 cm


Michiel Keuper - Untitled, 2013, gouache on paper, 29.7 x 21 cm

Michiel Keuper - Untitled, 2013, gouache on paper, 29.7 x 21 cm

Michiel Keuper - Untitled, 2013, gouache on paper, 29.7 x 21 cm

Michiel Keuper - Untitled, 2013, gouache on paper, 29.7 x 21 cm

Michiel Keuper - Untitled, 2013, gouache on paper, 29.7 x 21 cm








Thursday, January 24, 2013

AD LIB at Souterrain / December 2012


AD LIB - Peder K. Bugge, Dania Burger, Michiel Keuper, Sarah Steiner
8 - 14 december 2012, at Souterrain, Projektraum, Berlin.
Invited by Isabel Holert and Felix Laubscher


White Series No. 72, No. 50, No. 75, No. 51, No. 61 (left to right), 2012, acrylic on magazine, 28.5 x 36 cm - photo mfk


English - ‘In his work Michiel Keuper (...) lets fabrics disappear that already had been a sewn (fashion) statement. On pages from magazines he erases the traces of fashion by painting them over with white acrylic paint. Bare legs or arms that appear from a diffuse white field, unmask the fashion industry's dream world as an illusion. What is left without clothes and make-up are the aesthetics of a vaguely recognizable posture; a choreography of limbs. Michiel Keuper leads the pictures back into timelessness, where they had been previously exposed to transient trends.' - Isabel Holert (from the introduction)


German - ‘Michiel Keuper (...) lässt in seinen Arbeiten Stoffe verschwinden, die bereits zu einer Aussage genäht waren. Auf Blättern aus Modemagazinen löscht er zumeist mit weißer Acrylfarbe die Spuren von Mode aus, indem er sie übermalt. Nackte Beine oder Arme, die aus einem diffusen weißen Feld hervorstechen, enttarnen die Traumwelt der Modeindustrie als Trugbild. Was ohne Kleidung und Make-up bleibt, ist die Ästhetik einer zu erahnenden Körperhaltung, einer Choreographie der Gliedmaßen. Michiel Keuper führt die Abbildungen zurück in die Zeitlosigkeit, wo sie vorher vergänglichen Trends ausgesetzt waren.’ - Isabel Holert (from the introduction)


White Series - AD LIB at Souterrain, december 2012 - photo mfk


White Series No. 72, No. 50, No. 75 - photo mfk

White Series No. 50, No. 75, No. 51, No. 61 - photo mfk

White Series No. 75, No. 51, No. 61 - photo mfk

AD LIB, overview - Sarah Steiner (left wall), Dania Burger (pillar),
Michiel Keuper (right wall) - photo Isabel Holert

AD LIB, overview - Peder K. Bugge (back wall),
Dania Burger (pillar) - photo mfk

Souterrain, posters at the entrance, december 2012  - photo mfk

Monday, November 12, 2012

White Series IV / 2012

White Series 72 - Michiel Keuper, 2012, acrylic on magazine

White Series 71 - Michiel Keuper, 2012, acrylic on magazine

White Series 70 - Michiel Keuper, 2012, acrylic on magazine

White Series 62 - Michiel Keuper, 2012, acrylic on magazine

White Series 75 - Michiel Keuper, 2012, acrylic on magazine



All paintings © Michiel Keuper 2012

Sunday, November 11, 2012

White Series III / 2012

White Series 61 - Michiel Keuper, 2012, acrylic on magazine 

White Series 38 - Michiel Keuper, 2012, acrylic on magazine 

White Series 42 - Michiel Keuper, 2012, acrylic on magazine 

White Series 41 - Michiel Keuper, 2012, acrylic on magazine 



 All paintings © Michiel Keuper 2012