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Selected 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 fucking-boring.
A 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
Kristian Hornsleth has been shown extensively on the continent and in New York. For more information on Hornsleth, click here to visit his personal website.