Mess around (Limited ed.)
- 120 x 180 cm
- Fotografie in oplage
- Fotografie
Crispy White (São Rico 1974)
Crispy White's ingenious collage technique never ceases to intrigue. From a distance, his work is reminiscent of the pointillism of Georges Seurat and Paul Signac, among others. Only up close can it be seen with how much patience and dedication he imparts depth and “hidden” messages to his work. There is a clear link between the subject and the sometimes ironic, sometimes obvious chosen images from which the work arises.
Due to an excess of activities and obligations, White likes to keep in the background. From anonymity he observes, analyzes and puts into perspective what he perceives in the world. Not that he has no opinion of his own. On the contrary. He has a distinct vision of his own, which he likes to keep pure. Pure. Unsullied by other perspectives or (pre) judgments. He doesn't care about the status quo.
The character description of this globetrotter does not go much further. He stays for shorter and longer periods in several cosmopolitans and while traveling he takes endless photographs. Everywhere he goes, he absorbs impressions and collects the most absurd gadgets. The world is his playground! White is a person of the world who prefers to stay in his own world.
He likes innovative techniques, wants to exploit contradiction and does this with sophisticated details that surprise the viewer. His mixed media works always consist of several layers. Both physically and in symbolism. He enjoys playing with optical illusions. Appearances are deceptive.
The first impression meets expectations, but behind it you can always discover a second reality.
In his work he looks for the addition or the contrast. To depict his slightly erotic subjects, he uses remarkably soft colors and images, such as teddy bears or plastic rubber ducks. A quasi humorous approach or an expression of childlike, uninhibited love for the attractive feminine beauty? Both?
White's creative spirit is not easy to capture. And perhaps that is precisely the intention. The viewer is challenged not to simply go along with the image that is initially presented to him. He is triggered to look further, to investigate and ultimately to draw his own conclusions.
- Free and without any obligation
- Art advice at home for 20 years
- Best to judge in your own interior
Try art at home
Advice
AbrahamArt Kunstcatalogus
Compleet in Hedendaagse Kunst
Een strakke visuele presentatie van het meest actuele aanbod van AbrahamArt. Ideaal om uzelf op uw eigen gemak thuis te oriënteren.
Crispy White
Crispy White (São Rico 1974)
Crispy White's ingenious collage technique never ceases to intrigue. From a distance, his work is reminiscent of the pointillism of Georges Seurat and Paul Signac, among others. Only up close can it be seen with how much patience and dedication he imparts depth and “hidden” messages to his work. There is a clear link between the subject and the sometimes ironic, sometimes obvious chosen images from which the work arises.
Due to an excess of activities and obligations, White likes to keep in the background. From anonymity he observes, analyzes and puts into perspective what he perceives in the world. Not that he has no opinion of his own. On the contrary. He has a distinct vision of his own, which he likes to keep pure. Pure. Unsullied by other perspectives or (pre) judgments. He doesn't care about the status quo.
The character description of this globetrotter does not go much further. He stays for shorter and longer periods in several cosmopolitans and while traveling he takes endless photographs. Everywhere he goes, he absorbs impressions and collects the most absurd gadgets. The world is his playground! White is a person of the world who prefers to stay in his own world.
He likes innovative techniques, wants to exploit contradiction and does this with sophisticated details that surprise the viewer. His mixed media works always consist of several layers. Both physically and in symbolism. He enjoys playing with optical illusions. Appearances are deceptive.
The first impression meets expectations, but behind it you can always discover a second reality.
In his work he looks for the addition or the contrast. To depict his slightly erotic subjects, he uses remarkably soft colors and images, such as teddy bears or plastic rubber ducks. A quasi humorous approach or an expression of childlike, uninhibited love for the attractive feminine beauty? Both?
White's creative spirit is not easy to capture. And perhaps that is precisely the intention. The viewer is challenged not to simply go along with the image that is initially presented to him. He is triggered to look further, to investigate and ultimately to draw his own conclusions.
