I have a confession to make:I am not an artist, I am a collector. Or better yet: I craftily create collections of self made artworks and artifacts that look old, in the hope that future people will find and collect them.
My art is fake, my oeuvre consists of forgeries of artworks that have never existed.
It should be unclear if these artworks are from the past or not. On the one hand, I do my best to disguise my artworks as artefacts weathered by time, but at the same time I try to give them conflicting attributes that do not belong to this time nor the past.
Über meine Arbeit /mich
Meine Kunst ist eine Lüge, meine Arbeiten sind Fälschungen von Kunstwerken, die nie existiert haben.
Es soll offen bleiben, ob meine Kunstwerke aus der Vergangenheit stammen oder nicht. Auf der einen Seite erscheinen meine Kunstwerke als Artefakte, durch die Zeit gealtert. Aber zur gleichen Zeit versuche ich, ihnen sich widersprechende Attribute dergestalt mitzugeben, dass sie weder tatsächlich der Vergangenheit aber offensichtlich auch nicht der Gegenwart zugehörig erscheinen.
I made an installation as part of an exhibition commemorating it was 60 years since the day East German authorities started building the Berlin Wall.
As a reaction to the open call by Art Up, Fair Kiez and the East Side Gallery, my installation was Commemoration table from the future – with a story.
Materials: Old wood, metal, rusty screws and other metal parts, fiber composite material for ornaments and relic shrines, various prints in Photolux Professional Matte 230, board, paint, black and white prints, alubond, suitcase, jerrycans, dried flowers, LED lamps, magnifying glasses, silicone
It is a bit dark, but I like it. There is also a beta version. I started photographing for the series somewhere last winter – among other things inspired by stories about certain parts of Belgium and France still being off limits since WWI (the so called ‘Great war’) due to the poison in the earth.
We do not see that many broken trees in landscapes – or at least in the Netherlands I have hardly ever seen them. It is in the long list of things that are hidden from our view because of civilization? Just like sick people – and epidemics and death and other nasty stuff.
Today on reddit there was a story from a doctor who told about his experience with two different patients for whom there were no more options – and apparently that used to be very rare until Covid came along.
These and other things are an inspiration here. More will follow. Not sure where it goes – I got a whole lot of pictures of trees without leaves.
Materials: paint, black and white print, paint, shellac on MDF board in wooden frame with Fiber composite material ornament
I have been experimenting with a new way to print and it enables me to print on painted surfaces in both black and white – like I have don here – and in color.
This means for me that I am more and more mixing digital and analog – where analog has become more important to me. I like that I can finally print on rough surfaces, on surfaces that I painted before. I can print on surfaces that are painted in gold, that are shiny.
Materials: Fiber composite material, print, paint,
Dimensions: 50 x 50 cm
There is this thing about birds, that if they are used to symbolize humans in a composition/painting/collage – we do accept them as humans, there is nothing alien about them, no uncanny valley stuff at all. And at the same time they mostly do not really bring their own character- or so I think.
I have the impression that if I were to use other animals then we have more of an idea of what that animal symbolizes. Insects are NOT human, they are a danger and mammals are surrounded by the stories we heard about them in our childhoods or what they mean for us as food or their economic meaning or as pets. They immediately have character, or symbolize something.
At first I have used humans made from 3D puppets in my artworks, but even though I still like those works, it was also too flat. I have also made works with pictures of real humans and tried to use their stories in my artworks but then it became too personal for a couple of them and therefore I stopped having permission to use these compositions in exhibitions or for sale.
Birds have no baggage, they are not us – some say they are not even real – they are beautiful reptiles with wings. This makes them ideal to use as characters in my future compositions because we can somehow identify or bond with them or ascribe them human qualities, emotions or so – but they are also not us, they are neutral. I could also use reptiles, I think, but I have more pictures with birds in them.
With most of the smaller stuff I have made since 2017, I have tried to play with influences from the last couple of centuries – but with this frame I tried to play with something found in the earth. The print in the center makes it look kinda new, that is true – but I would like to research ways to change that as well.
Maybe a painting with laser print image transfer on a painting could be the next step instead of fancy matte prints. Maybe I should work with concrete or a more stone like material – and connect everything using thick iron wire, 3mm or so. And it will be rusty or blackened, no need to ask.
Why would I want that? And why would I also make sure everybody can see it is not from the past? In popular culture, we always go towards a glorious future with the progression of time – but it does not need to be. Archeology/history has shown that this is most most definitely not the case. And with climate change and all, we might not come out on top.
For me these artworks are ‘proof’ of a continued human presence – even without the technology of today. Or maybe this presence is not human, but another animal that learns how to use tools and develops their brain. There are people who have pointed out that other monkeys/primates have entered a development that we could call ‘the stone age.’
My name is YuriGoul, I am not a politician – I am an artist. I live and work in Berlin (DE) and the subject matter of my art is time.
Materials: Fiber composite material, print, paint,
Print: Photolux Professional Matte 230
Dimensions: 60 x 60 cm
… or actually: I took apart my lens on purpose to see what would happen if I changed things. The end goal is to find a combination of parts that give the impression of what I see when I take off my glasses. The world without my glasses changes into a painting with moving parts and strange lights that are alive. This is not necessarily an impressionist painting, but very often it is. This can also be more cubist (Braque) or Surrealist (Ernst) because the brain has to find its own creative ways to make sens of the input. I am sometimes annoyed that photos are too clear, too precise, too sharp, too mechanical. Maybe that is why I like small sensor cameras like my beloved TZ81 and the LX7 that was stolen from me.
I have been working on a scanner camera in order to have a 100 megapixel camera on the cheap. This would be so great for floral elements and such, in ornamental works. Here are some of the results of the one I got to work – to bad it is kinda hard to make it focus correctly.
Unfortunately this scanner crashed because of a short circuit (my bad) – and since then I did not really get it to work like this. I used a slightly different scanner, different software, different light and different lenses – and I have yet to find out what did it.
It is still standing in my room gathering dust – but the 80MM Pentacon 6 Medium Format Lens is welcome addition to my collection.
This is the work I send to the Gallery Kleistpark Berlin to apply the art price of 2017 around the theme of the ‘Capriccio.’ To them this has to do with going against the art rules in a playful way. This is seen as the forerunner for the modern art. In wikipedia it is called ‘an architectural fantasy, placing together buildings, archaeological ruins and other architectural elements in fictional and often fantastical combinations.’
I applied since I think I could fit into both definitions.
The text I send to them was more or less the one in my ‘About my work‘ text – and I added the following:
”The main grammar that I use in the work I present here, is that of the ornament, and the goal is to make people question what is inside the fleshy, semi-erotic, alien – perhaps grotesque – ornamental centerpiece. What should be the meaning of this in an era where so many people wonder about sexualitiy, gender; what is the meaning of this in this time where we marvel about the knowledge and ability to perform sex-changes and at the same time we ponder about the existence of Alien Life.
Maybe trans-sexualism – and also trans-humanism – should be the next step in our development before we even are able to be confronted with the unimaginable coming from other planets. But on the other hand, who says the unimaginable has to come from outer space? It does not matter if it is true alien life or simply the next step in our own evolution. Or maybe the person standing next to us in the subway. Maybe we’ll find out at some point.”
A step by step guide that shows how I create my ornamental frames.
Thoughts about ‘Road to Europe’and the adaptations for Road to Europe
The future is already here — it’s just not very evenly distributed
— William Gibson
Europeans have a birth-right to reside inside of what is more and more becoming the gated community called the EU. That right gives them the opportunity to participate in and benefit from Europe’s blissful future. In my work I am looking for the viewpoints of those who do not wish to be part of this utopian world, those who are willing to work on an alternative future or those who can not be part of that privilege for whatever reason – and I have positioned them against the borders or inside the no-mans lands that seem to define them. Will they be honored as martyrs in future-Europe, just like the early monks who gained sainthood because of their apocalyptic visions, the hardships they endured and the good deeds they performed?
Whenever I meet punks who are begging for scraps, I tend to see them as the modern day mendicant monks, beger monks living on alms – maybe we should ask them to pray for us after we have given them some coins. They know what it is to endure hardship, to suffer. I think it is about time we start to acknowledge that they are our modern day saints, our martyrs, our very own holy men and women. I think it would be fitting.
For a while I was obsessed with a story coming from the research done by J.G. Frazer (one of the of the founding fathers of the study of anthropology) that can be found in a book called ‘The Golden Bough’:
“A register of al the incarnate gods in the Chinese Empire is kept in the Li Fan Yüan or Colonial Office at Peking. The number of gods who have thus taken out a license is one hundred and sixty. Tibet is blessed with thirty of them, Northern Mongolia rejoices in nineteen and Southern Mongolia basks in the sunshine of no less than fifty-seven. The Chinese government with a paternal solicitude for the welfare of its subjects, forbids the gods on the register to be reborn anywhere but in Tibet.”
Based on the time of publication of the book this must have existed around the end of the 19th century. But even then: how on earth did humans do that? Why oh why do you create a bureaucracy for gods who are supposedly living in our midst? It beats me. Even Kafka – or even Terry Gilliam for that matter – could not have envisioned something that. Live truly is stranger than fiction.
I have been raised an atheist – my family was atheist for at least 3 generations. Maybe that is why it is so hard for me to grasp this.