Algo Rhythmus Serie PG (VI), 199980 x 80cmPrice on Request
Details
Material
nitrocellulose lacquer on wooden relief
Description
Human-crafted. AI-refined.
This abstract artwork features a bold, geometric composition with prominent shapes and contrasting colors. The central element is a dark, silhouetted profile shape against a lighter pink background, giving the impression of a human figure. The overall style is minimalist and modern, with a focus on negative space and clean lines. The artist's intention seems to be exploring themes of identity, form, and the interplay between positive and negative space.
Similar Artworks
Marianne Eigenheeruntitled, nullPrice on Request
Claudia & Julia MüllerFigure Rouge, 2019Price on Request
Kilian RüthemannRe-Position (red II), 2021Price on Request
Sylvie FleuryChampagne et Limousines, 2010Price on Request
Pipilotti RistIris, the Enlightened Granddaughter (light blue yellow), 2022Price on Request
Thomas HirschhornSisterhood brotherhood, 201515000 EUR
Claudia & Julia MüllerFigure bleu-vert, 2019Price on Request
Marianne Eigenheeruntitled, nullPrice on Request
Judith KakonRecess and Incline (Basel), 2023Price on Request
Edit OderbolzThis Song Has No End, 2023Price on Request
Sara Grütterin side out in (head arches), 2022Price on Request
Karl Gerstner, born in Basel, was a theorist, graphic artist, painter and author. As graphic designer and co-founder of the internationally operating advertising agencies "Gerstner + Kutter", later "GGK", he is one of the protagonists of successful Swiss graphic design. As an author, Gerstner has written numerous articles and books on art, such as the classic of the design theory "Compendium for Alphabets. Systematics of Scripture" in 1972. As a theorist, his writing "Kalte Kunst? Zum Standort der heutigen Malerei ", 1957. Gerstner's art is a research carried out in his studio, his laboratory, based on two pillars: the search for pictorial systems and the study of color effects. Gerstner conceives whole image systems beyond the individual work, but the involvement of the viewer is also of central importance in his works. Furthermore, the changeability of the image, whether mechanical or optical, played an essential role in Gerstner's work since the exchange of Op Art and kinetic art in the 1960s.
The systematic division of his work into chapters began in the 1950s with "Aperspektiven" and "Reihenbildern", including the work "Progressive Penetration", black and white, 1960. Gerstner is a leading representative of "Concrete Art", which was popularized by Joseph Albers and Max Bill and deals intensively with the Zurich Concrete Art. Based on Gerstner's analysis of concrete works, which for him are transparent and coherent in their formal structure, but do not correlate with colour, he wanted to create constructive images in which form and colour form a unity. The forms were formed from equal intervals in number and the colours from equal intervals in perception. In consistent development of serial principles, he then turned primarily to colour and its effect with the groups of works of "Color Sounds", "Color Lines" and "Color Forms". ...
Karl Gerstner: Artworks
Karl GerstnerAlgo Rhythmus Serie PG (VI), 1999Price on Request
Karl GerstnerAlgo Rhythmus Serie PG/A, 1999Price on Request
Karl GerstnerAlgo Rhythmus, 1989Price on Request
Karl GerstnerAlgo Rhythmus Serie PG VIII B, 1989Price on Request
Karl GerstnerAlgo Rhythmus Serie PG (VIa), 1999Price on Request
Karl GerstnerAlgoRhythmus Serie PG (VII), 1999Price on Request
Karl GerstnerColor Fractal Grand Format (quintuple), 1999Price on Request