With formal training and a foundation in painting, Dusseldorfian artist Volker Hermes possesses a comprehensive and solid artistic background. Over the past decade, he has utilized classical oil painting portraits as his subject matter, transforming them into striking contemporary interpretations with a critical edge, often enhanced through Photoshop post-production. His art has gained widespread popularity globally, particularly during the pandemic. In the upcoming spring, he will hold a solo exhibition at the Suermondt-Ludwig-Museum in Aachen, Germany.
Q: Hi! This is the first time we interview you. Can you talk a bit about yourself and your background in art? (From Düsseldorf Academy to self-taught digital painting) Can we get a glimpse of your atelier?
A:Thank you very much for the invitation to the interview. Well, I am a visual artist, I studied painting at the academy of art in Düsseldorf and in my work I think a lot about art history and its meaning for me as a contemporary artist and for us all as viewer. In one part of my work I modify historical portraits, try to re-evaluate their meaning for us. And because I don't want to copy or repaint them, I do this with the help of digital image processing. This is how a painter comes to Photoshop.
Q: Is there such thing as too much decoration in your opinion? Mr. Alessandrini from the Met interpreted the fabrics and accessories on the sitters in your portraiture as “mocking” and “drowning,” but you also revealed the initial foray in painting your close ones with the same method, which I assume did not come from criticism and judgement?
A: I love decorations! But they are sometimes witnesses of vanity of social elites who promote themselves and their position. That's why I use irony to point this out (by “over-decorating”). I don't make fun of the art, but of the people who adorn themselves with these feathers. Irony is an important tool for me that I even use with friends, but of course in a different way.
Source: Volker Hermes
完整文章收錄於 Excerpt from vol.266