CREATING ARTISTIC HYBRIDS: 5 QUESTIONS FOR CHRISTIAN HOLZE

In his work artist Christian Holze combines different artistic categories into hybrids: object, 3D graphics, painting and installation. The exploration and dissolution of these categories is just as essential to him as the fusion of analog and digital working practices. The marketing strategies of current technology and luxury goods corporations are as much a part of Holzes artistic fundus as the identity-forming properties of their products. Through an affirmative approach to the resulting research topics, Holz's works slip into the role of the product themselves, questioning their own artistic creation and the commodification of visual art.

Tell us about your creative process. How do you go from idea to customization?   

At the beginning there are usually digital processes such as 3-D processing, programming and image editing. In the subsequent translation process from the digital medium to the physical work, questions of materiality and form of presentation are incorporated. This process is concluded by a manual intervention in the work. 

What role does spontaneity play in your work? 

In my work, there is a certain sense of involuntariness using computer-generated simulations and the gesture of manual intervention in the finished work. However, this approach is firmly anchored to the concept and planned in advance, and therefore only seemingly spontaneous. 

You act as a multidisciplinary artist, mixing 3D graphics, painting and installation. Is there one discipline that plays a more important role than the others?   

Classical and new artistic categories combine in my work to form hybrids. In the best case, the boundaries of these sub-areas merge to such an extent that the attempt to classify them becomes superfluous. Thus, the work does not have to be received exclusively through the affiliation of a particular discipline. 

Traditional sculptures are a recurring motif in your work. What is the idea behind them? 

In my series of works NOTHING NEW I use some sculptures of Hellenism as a metaphor for the tradition of copying, which is firmly anchored in art history. The “Borghesian Fencer” used for the edition functions symbolically as a representative of this process, which continues to this day. Starting from the classical copy, adaptations and the commodification of these works play a role above all. 

How do you deal with self-doubt when creating?  

Pause or stop the process. 

Christian Holze's edition NOTHING NEW will be released on July 7th and will be available exclusively on misa.art for 24 hours. Sign up HERE to receive updates on the drop!

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