Usually the painter has full control over the placing and quality of every mark and element in their work. This instead was creation in a straight jacket. The artist's task was to arrange a piece that worked with the discarded offcuts that were available. Apart from the piece in the bottom left corner that didn't 'look right', there was no overpainting. Given the very unpromising source material, the result has a satisfying coherence as an aesthetic system, which is what paintings are fundamentally.

Forget What You Know

One of the recent paintings. 

Titel: N°8 

80x60 on transparent plastical surface. 

I used wax, acryl and spraypaint on the back and mostly acryl and graphit on the front. Because of the different layers and grades of transpancy the painting interacts with the light of the room. The neon colours, graded down with white still seems to shine by itself and reinforces the effect of different lvls of depths. I really love to use this different material (#materialhybrids, #material hybrids) on this surface, cause on the one hand u can use them to blend into each other but use repelling materials like water-based paint and wax to creature different effects. 

I hope you like it. If you are more interested in my work, check out my acc on Intsagram - vincent.clasen 

N°8

Starting out as two separate pieces each about twenty-four inches square, this was executed very quickly with a saw, chisel and brushes, without too much deliberation. The plyboard panels were cut up, combined and arranged loosely. The finished work is disorienting like shell-shock. With the surface of the panels scarred like flesh, what emerges is reminiscent of a landscape blasted by war, of charred, broken limbs and barbed wire.

Barbed Wire in The Blood

A piece that became a fusion of what started out as three separate artworks. The result is a combination of the angular and geometric, contrasted with panels of lyrical, expressive paintwork. The two don't often mix in abstract painting. The portrait orientation, decided at the last minute, makes the piece sit up to meet our gaze and prevents it becoming an abstract 'landscape'. The intent of the title is optimistic; a tribute to creation and possibility in a world without limits.

Anything Can Happen

Inspired by the aesthetic of broken windows; not just the unpredictability of their form, but also the randomness of their destruction. Starting out as a drawing in oils of a broken window, the plyboard was then cut into multiple fragments and re-arranged to create another level of brokenness. A broken, broken window. Then the piece was sawn into unequal quarters and re-arranged. What emerged was menacing black forms crawling into the frame, from left to right it. Looking nothing like a broken window, but with a similar random and jagged beauty that had inspired it in the first place.

Invaders

A painting that started out smaller than it ended. The process went through several different versions and configurations in the twelve months it took to complete.

Blacked Out Stars

A composition fusing geometry and chance, inspired by war and the idea of a mountain range tearing apart seismically. The point where all control is lost. There are two levels of composition. First, the painted design on two panels; white marks on a black background and black marks on a white background. The second level of composition is where the two panels are cut into 45 and 90 degree angle pieces, and then arranged randomly into the final design shown here. An accidental, unintended consequence of the finished work, is the animal skin quality of the design which conceptually serves the work as a metaphor for the competitive and destructive forces that often govern human behaviourThe animal skin quality of the design is an accidental metaphor for the competitive and destructive forces that often govern human behaviour.

Point of No Return

my world with my railway around the world . 

sepurvin

collaboration w/ local graffiti artist known as Busta. 

Untitled, 2022

reflection of my experience in a city smothered in drugs and violence. Using hieroglyphics as a way to communicate  

Carmen 

Varied transportstion play with my character

Transportation

56" x 45"
Mixed media, canvas streched on vintaged reclaimed window frame.

Rise

63" x 67" diptych - 2021
Mixed media on canvas.

Redemtion 

Scorpias

64" x 44" - 2021
Mixed media on canvas.
Titled after a poem by - Jim Morrison.

Newborn Awakening 

Cruore

63" x 36" - 2021
Mixed media, annealed steel wire on linen.


Luper

Algor Mortis

68" x 50" - 2021
Mixed media on canvas.
Devoted to Dominic Laforgia 1991 - 2006.

Knighttour 

available for purchase or streaming on all platforms now
 
Bandcamp :  https://sklation-trio.bandcamp.com/releases
 
Amazon :  https://www.amazon.de/dp/B07H9G2CGQ
 
iTunes :  https://itunes.apple.com/de/album/prohlis-underground/1436139595
 
 Spotify :  https://open.spotify.com/album/2ylaV1WTURME8UeuaJsucP?si=vTCQHgtNRYKRp8RkIhsreA

Sound is our freedom. We feel the power of self-determination attributed to the will; the quality of being independent of fate or necessity. 

Space is our believe. We accept that it is true, especially without proof, feeling sure that space is capable of moving something in humans. 

Music is our determination. We follow the process of establishing something exactly by emotion or feeling with the controlling or deciding of the nature or outcome of our art. 

SKlation is our name. Here we are !
credits
 
released October 7, 2018 

line up: 

Helene Winkler - cello 
Henri Reichmann - drums 
Vincent Meißner - piano 

recorded 25.06.2018 at ballroom studios Dresden 

mixed and mastered by Ludwig Barth 

all music composed by Helene Winkler/ Henri Reichmann and Vincent Meißner
 
 
 
 

Prohlis Underground - SKlation 

Digital Painting + Cinemagraph + Ambient Sound

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