In the frame of his solo exhibition »Space Invader« Lukas was living and working in the exhibition space of Kunstverein Hannover. Being watched by CCTV at all times, he decided to move his whole equipment including bed, underneath the camera, outside its picture frame. A wooden staircase was then constructed on the opposite side of the space, lifting the viewer about 3,5 meters above ground. On top, a small screen displayed the live view of the CCTV camera that was depicting the viewer from the back. However, nothing of Lukas’ studio was seen in the picture frame – the viewer seemed to be alone in the room. Being inspired by Bruce Naumans closed circuit installations, Lukas created a hierarchical imbalance between himself, who was living and working inside the space all along, the viewers and the institution. In the context of the exhibition he was the one to be looked at, to be kept under surveillance, which he aimed to emphasise by constructing this »Watchtower« for guests. However, viewers would soon recognise themselves as still being watched by a higher instance – one that is hiding behind the curtain of a CCTV camera who’s eyes the artist already succeeded to escape by living underneath its radar. 

Photos by Volker Crone

Watchtower

A winding staircase that is part of the interior of the museum, bends itself towards the fl oor. Steel profi les point out of the wall, that used to hold the pedestal to which the staircase led and which allowed access to a door at the upper half of the room. This pedestal is now leaning at a pillar in the center of the space. This »Rewinding staircase« takes a functional object and transforms it into a sculpture. The stair elements descend like rotor blades towards the middle of the exhibition space.

Photos by Rüdiger Lubricht

Rewinding Staircase

I've been always fascinated by the science fiction genre where the present using a fictional future and thus prevents us from repeating and exacerbating the mistakes of the past.
My artwork, ''Journey to Mars'', visually reflects the influence on me by one science fiction novel,  where my heroes flowing to colonized Mars in anticipation of the unknown.
So that to understand what is stronger than hope or expectation?
How to overcome the fear of the unknown and not be disappointed in your expectations?

Journey to Mars

Nadia

The REMAINS series was created in 1995 and 1996. Almost all elements of the composition are subsumed under certain mathematical rules. The series was inspired by a number of photos made as part of a metal fatigue research, a field in which there are high tensions and deformations, resulting in interesting forms and textures. Later, some images from the trivial round were added, but now subsumed under the main theme.

The idea was to aestheticize the remains i.e. things that are utilized and already useless and to examine if such an anesthetization on the ground of the “golden ratio” (used implicitly) will make them more “recognizable” or “close” to the spectator, i.e. However, in the work process, it turned out that trivial objects could carry additional and more complex meanings. 

The remains are things left of something else (that is already not in its initial state). Being a result of the change they put us directly into the time stream. If we imagine, what the things were like, how they slowly have or have been changed and how they will disappear, we become aware of the course of Time.

On the other hand, we could take these deformed objects, this tired matter as a metaphor of the end of the industrial society along with its pretensions and its impudence. Nothing and nobody has escaped the deep quiet gloom of Time, where only the Remains remain for a moment, before finally being absorbed by the Eternity.


The REMAINS series consists of two sub series - Soft Pastels and Watercolors, respectively. Please visit the project website to see all works.

Remains (1995 - 1996)

COLONY, 40x28cm, Mixed media on Paper

Avatars of the feelings in their natural habitats 

Animals

Space is the ultimate playground. In it, I have invented a new form of fun - Space-surfing. Children enjoy a feeling of zero gravity, hovering around the Moon, flying next to symbols of technology – spaceships and satellites.

These works are meant to convey a feeling of weightlessness, of playfulness, of freedom. The titles further emphasize the theme of the content and creation process – "Moon surfing", "Playing with Gravity", and "Weightless fun".

The technique I used also reflects a combination of playing around with materials, images, surfaces, transparencies, markers and technology. The backdrops of the works are pages from an old book about Space. On the book page, I placed painted transparencies with colored images of children. These, in turn, are based on photos of my own daughter I took with my new 48MBs Smartphone camera. Lastly, I arrange the materials in a household scanner to give life to the final collages.


Weightless Fun

'Untitled', #8 in series

Entelechy

Sneeze 2020 - A COVID 19 form made from cast pelvic bones, representing our human fragility during the pandemic. The form then multiply repeated creates an imaginary sneeze as if the virus were visible spreading through air. The Image is black and white, COVID 19 is so small it neither absorbs or reflects light. Colour seen in electron microscope images is artificially give. Despite its size it has caused havoc to human kind.


Sneeze 2020

Women as inspiration for other women; proud and owners of their own bodies. Women who reclaim their own sexuality connected with their own erotism.


CARROT

Now or never

Experiments from the same abstrakt shape.

ABSTRAKT

Gao Hang’s quietly electric paintings of abstracted, reconfigured sharks are rendered in multilayered fluorescent
hues that the artist considers to be the tones of his generation. Evoking the postmodernist neo-pop movement, Hang uses subject matter and color as a conceptual and structural armature and is able to tap into the zeitgeist of the age of social media. Gao Hang’s work intentionally engages the aesthetics of the internet and our glowing digital devices in an effort to compete for attention amongst the rapid viewing mechanics of the 21st century. 

Surface or Skin

Small Series of abstract, geometric pieces done in Cinema4D.
Exploring the human psyche through each piece. 
Tell me what you see when you look at these. 

Digital Playground

Full Of Hot Air (2018)
hot-water bottle (thermoplastic resin), bicycle valve (Sclaverand), cement 
18 x 20 x 32 cm (H x W x D)

“I have to say, that for my installations in public space I never know which medium and material eventually I will end up working with. The history and the conditions of a place inspire me and lead me. There was a time when I often was the only artist in a gallery group show showing in the outdoor space. I was often overlooked as a participant of the exhibition and people did not realize that somewhere out there one of the artists had created an additional work. I must admit that I was not really happy with this situation.
So I started to create a small corresponding object, which could be also shown in the gallery space. You can compare it with the idea of an edition. This is how I started to occupy myself intensively with objects and sculptures, which are now an important part of my work. In my objects I pursue a similar strategy as in my interventions: irritation and integration. I try to find everyday objects that are able to merge together in order to provoke and irritate.“

Interview 2016
Floorr Magazine, London

Full Of Hot Air

‘Product Personality Cycle’ is looking at the cycles of consumption being driven
by brand personality and brand identity. Building on ideas of community and
commodification coming closer together through a feedback loop, there is a
cycle becoming apparent through advertising. It constitutes reusing and
recycling ideas and images. This loop of imagery also has the potential to
generate predictable consumer behaviour, which makes us underestimate
brand presence in our lives. Much more than that, it makes us blind towards
the reflections of society that can be used as base for marketing strategies by
corporations.

While these bold ideas of repetition might remain in the realms of hypothesis,
it is through Kööp’s images that they are brought to life, ultimately stopping
the process at work and actualising the cycle. These extreme and unusual
depictions of consumerism are driven by the imagining of limitless cycle of
branding and rebranding. It is a state where all control has been removed from
the consumers and product personality has replaced brand personality. By this
the series of photographs suggests a dystopia based on a lack of individual
ideas and the commodification of emotions.


Product Personality Cycle

This Must Have Been Love

Embroidery canvas from my collection FACTORIES.⠀
•Acrylic paint on canvas and DMC embroidery thread.⠀
Available for sale and open to bespoke commissions.

I started this project of embroidery canvas where I designed my own factories. I’ve been always fascinated with factories and the shape of their buildings. Sometimes the architecture of the factories is very random and always makes me think about the reasons and utility behind the design.

This is the design for my glasses factory.
"From that moment she began to see much better as if someone had put glasses to her perception. She began to observe small details that she was not aware of before, relate, connect, and develop."

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