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Andre Kezzyn sees Berlin as one big UFO; he sees the city as a giant Mos Eisley Cantina, a “wretched hive of scum and villainy” where all the beautiful scum and riffraff of the world can find their flying saucers. In UFO 1, the first of a pair, an alluring scum and or riffraff has found her saucer quite literally, a picture of club-going beauty hovering against a background of flaglike colored bars.The Venus of underground Berlin sits alone, for the moment, her expression of curiosity-verging-upon-contempt floating atop her uniform and the badges of office scrawled across her skin. As nightlife fashion accelerates ever further to the stars, one imagines that Berlin’s parks and merry-go-rounds fill nightly with similar figures, bedecked in space-age apparel and yearning for intergalactic Cantinas yet unborn.
Kezzyn's work recalls all the extremities of Goya and Spanish old masters, combining it with a playful reminiscence of the colorful humor of the 17th century Dutch Golden Age.
He forces us to acknowledge that "the tragic" is "the comic"―life mandating us to carry on in the face of our own discomfort. Kezzyn introduces delight into the controversy of watershed moments when we must decide when to laugh or cry at the circumstances we find ourselves in.
Bursts of color are attenuated with a sensual commitment to uphold the tension between integrity and degradation in the human form through light motifs. His mastery of light heighten the onlooker’s emotions, hiding in places we usually don’t dare travel alone, even in dreams. The works do nothing less than reinvent painting with a camera. He simultaneously challenges us with a nightmarish and honest repertoire of displays of the human condition; all subject-matter one can easily imagine turning into a living theater.
Contract Address0x495f...7b5e
Token ID
Token StandardERC-1155
ChainEthereum
MetadataCentralized
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UFO
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AwakeningGallery
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UFO
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Andre Kezzyn sees Berlin as one big UFO; he sees the city as a giant Mos Eisley Cantina, a “wretched hive of scum and villainy” where all the beautiful scum and riffraff of the world can find their flying saucers. In UFO 1, the first of a pair, an alluring scum and or riffraff has found her saucer quite literally, a picture of club-going beauty hovering against a background of flaglike colored bars.The Venus of underground Berlin sits alone, for the moment, her expression of curiosity-verging-upon-contempt floating atop her uniform and the badges of office scrawled across her skin. As nightlife fashion accelerates ever further to the stars, one imagines that Berlin’s parks and merry-go-rounds fill nightly with similar figures, bedecked in space-age apparel and yearning for intergalactic Cantinas yet unborn.
Kezzyn's work recalls all the extremities of Goya and Spanish old masters, combining it with a playful reminiscence of the colorful humor of the 17th century Dutch Golden Age.
He forces us to acknowledge that "the tragic" is "the comic"―life mandating us to carry on in the face of our own discomfort. Kezzyn introduces delight into the controversy of watershed moments when we must decide when to laugh or cry at the circumstances we find ourselves in.
Bursts of color are attenuated with a sensual commitment to uphold the tension between integrity and degradation in the human form through light motifs. His mastery of light heighten the onlooker’s emotions, hiding in places we usually don’t dare travel alone, even in dreams. The works do nothing less than reinvent painting with a camera. He simultaneously challenges us with a nightmarish and honest repertoire of displays of the human condition; all subject-matter one can easily imagine turning into a living theater.
Contract Address0x495f...7b5e
Token ID
Token StandardERC-1155
ChainEthereum
MetadataCentralized
Creator Earnings
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