Christian Holze's edition title 'Nothing New' promises nothing new and stages the comeback of one of the major works of late Hellenistic sculpture in the form of a virtual reenactment: the Borghese Fencer (Louvre, Paris). While antique sculptures oftentimes lead a shadow existence in today’s art market, they are revived virtually. Christian Holze bases his art on these objects and creates elaborate renderings of them. Like a sculptor, he models simulated space with various tools and methods, detached from physical properties. Ray tracing and Clothcollision are the new digital tools for working out reflections on surfaces and for controlling the fusion of fabrics and objects. The immaterial character paired with realistic light and gloss effects determine the visual appearance of these metamorphoses, of which one does not quite know whether they are already reality or still located in the realm of imagination. In addition to images with softly flowing draperies, Holze's work always shows the physiognomies of the two heroic sculptures merging into a liquefied, polymorphous mass in more than brotherly connotations of embrace. Holze translates the progression of the original forms into digital color surfaces without material structure into inkjet prints on canvas, which are finally glazed and partially painted over by hand with brush and paint. As printed originals, they thus assert their own inner contradiction.
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