Genealogy Florian Schneider, digital painting Biography
Born in Bonn (Germany), Florian Schneider, who lives in Paris
for nearly 20 years, has participated in many international exhibitions and contemporary art fairs, mainly in Paris, Berlin, Saint-Petersburg, Bologna, etc.
In 2004, he obtained the Arcimboldo prize (digital creation prize)
and
exposed
at
the
Maison
Européenne
de
la
Photographie (M.E.P.) in Paris.
www.florianschneider.com
Book: 44 pages, 24 colour prints, with texts in English and French Cover: bound in purple paper with colour print dust jacket Format: 25,5 cm x 25 cm Texts by Manou Farine and Frédéric Hébert Translation by Marcia Hadjimarkos Design by Gilles Cabrero Assisted by Cao Dan Printed in People’s Republic of China by Shenzhen Artron Colour Printing Co., Ltd. An Alain Le Gaillard publication, Paris ISBN 2-9519613-1-6 EAN 9782951961319 Copyright deposit: December 2004
GENEALOGY (extract from the text)
Public price: 15 €
succession of images that is more cyclical than linear.
Contact: Adrien De Melo +33 (0)6 75 62 57 63
[email protected]
Faces that exhibit a kinship like those of Raphaël and Botticelli in their time. With one difference: the ambiguous links among them stem from a dual genealogy.
Fictional, in terms of what the faces do not portray,
corresponding to no model, and authentic in that they only exist as the pictorial story they tell. Each image only appears
in
the
light
of
those
revealed
before.
An
imaginary family tree gradually develops, which, through
all the various stages and variations, represents the creative process itself.
As the hand of the artist corrects the position of an eye, the curve of a chin, the tension in a lock of hair, a girl, a sister or a friend begins to appear: the other, who soon surrenders
her
place
to
new
arrivals,
liberating
a
Basing each image on a previous version is a way of
grasping the creative process, examining it closely, portraying it, deciphering and pronouncing it.
The question of the nature of each of these images then arises. They exist by the principle of succession; they exist in and of themselves, forever incomplete as they await the instant of their transformation. Graspable outlines
infinitely unfurling in a quest for that one, single, ultimate image. Lovers, angels, madonnas, icons, mirror images, allegories and fantasy portraits: the faces establish
a lineage without a history, without real substance, perhaps stripped even of the idea of existence.
They call the mechanism of recognition into play, pulling the viewer into a fictitious but somehow familiar world, and
yet keeping him separate from the image by its virtual nature.
