Drawing on these mechanical lines, characteristic of the aesthetic of the first computers, he created, between 1992 and 2007, a set of paintings called “Computer Paintings,” to which Untitled, 1992-2005, belongs. Described as “bionic” by the artist, these abstractions, mostly large-scale creations in black and white or in color, are made up of geometric forms and pixelized motifs (latticework, arrows, linear drawings). In transposing screen onto canvas, the artist retains the digital aspect of the drawing he then executes manually in a striking visual short-circuit. In an era when digital resources are opening new perspectives for rethinking painting, Albert Oehlen is taking a step back in time, substituting the expressive movement of the brush for the click of the mouse.
© Adagp, Paris, 2019 © Fondation Louis Vuitton / Marc Domage
Albert Oehlen graduated from the Academy of Hamburg, where he studied under Sigmar Polke. He explores the pictorial medium through an artistic process in which he unceasingly reinvents the rules for each new series.
He explores the medium—from figurative to abstract—using a variety of tools and innovative techniques to reinvent forms of painting and push their limits, making each painting a unique universe.
Cypress, 1980
Joan Mitchell
Sans titre, 1990
Raymond Hains
"Monument" for V. Tatlin, 1964
Dan Flavin
23.2.08 Grauwald, 2008
Gerhard Richter
17.2.08 Grauwald, 2008
Gerhard Richter
Peinture, 290 x 520 cm, 22 Mai 2002, 2002
Pierre Soulages
21.2.08 Grauwald, 2008
Gerhard Richter
9.3.08 Grauwald, 2008
Gerhard Richter
22.2.08 (Grauwald), 2008
Gerhard Richter
Untitled (for you, Leo, in long respect and affection) 1, 1977
Dan Flavin
29. April '05, 2005
Gerhard Richter
"Monument" for V. Tatlin, 1967
Dan Flavin
