The technique tells the artist and worker what image, discourse or event should be produced, and not the other way around.
Does beasts leaves their traces in holographic universes?, 2017, 70 x 70 cm, oil on oil on oil on canvas
"A DNA lighting in a pixel cave", 2017, 50 x 50 (x2), oil on oil on oil on oil on canvas
"The executive animal", 2017, 60 cm x 60 cm, oil on oil on oil on canvas on helmet on video
"Livestream model on RabbitCams", 2017, 70 cm x 50 cm, oil on oil on oil on oil on canvas
"A lost love is like a dead dolphing", 2017, 80 cm x 60 cm, oil on oil on oil on oil on canvas
"Sleeping spectator", 2017, 200 cm x 50 cm, oil pastel on paper on sleeping bag
In his artistic practice, Nicolas Lillo takes Baroque Aesthetics as a reference, linking it with the sensation of virtual opulence due to viral data, the decay of high-resolution monuments, the anxiety of overrating emerging treasures and the fear to visualise the exodus of the works of art stored under suspended animation in hibernation chambers from the warehouses of investment corporations.
Master of Fine Arts
an der HFBK
Prof. Werner Büttner, Prof. Dr. Michael Diers