posters, large photocopies and other readymade materials are mounted
on the canvas as contextual background. An important feature is
the cut holes. Most of the work has been brutally cut and heavily
scratched with sharp objects. This action is an intention to add
an extra color, an additional branding control and not mention a
Fontanian and Twomblyan fartherly respect."
"The concept was from the begining to combine an extreme subjective
Rorschackian drive for painting itself with a conceptual idea to
adapt an over visible brand-ID. All in line of the general research
of the deconstruction of the power distribution between art viewer,
producer, buyer and opinion makers."
"The paintings are mostly heavy expressionistic overkillish as well
as sensational and statement oriented. With time this style has
proven itself to have a market to well of-young-self-confident-business-types-who-normally-thinks-that-art-is
consistent sales channel was opened. Some buyers and gallerists
complained a little about the branding in the form of a huge Hornsleth
signature which covered up to a third of the painting, but this
proved not to be a problem of the consumer interest. After a while
most of the art lovers who have bought a Hornsleth work tell us
that they see the brand as an equal component in the painting composition."
Hornsleth has been shown extensively on the continent and in New
York. This is his first London show. For more information on Hornsleth,
please click here
to visit his website