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{{short description|German photographer}} |
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'''Martin Klimas''' is a German |
'''Martin Klimas''' (born 1971) is a German photographer.<ref name="feature shoot" /> |
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==Biography== |
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==About Martin Klimas== |
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Klimas obtained his degree in Visual Communications from [[Fachhochschule Dusseldorf]].<ref name="feature shoot" /> He has had a number of exhibitions in Germany and abroad. Kilmas has a new series called ‘Exploding Vegetables,' which is created by "firing a projectile into different kinds of fruits and vegetables reflecting our shift towards healthy food and away from junk food."<ref name="feature shoot">{{cite web|last=Zavos|first=Alison|title=Photographer Martin Klimas fires a projectile into fruits and vegetables|url=http://www.featureshoot.com/2010/10/martin-klimas-dusseldorf-2/|publisher=Feature Shoot|accessdate=18 October 2013}}</ref> |
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Martin Klimas has become the fastest sculptor, a brilliant photographer, and a unique painter in the process of discovering the answer to this question. Kilmas is a German contemporary photographer who was born in 1971 <ref name="themorningnews1">{{cite news|last=Baldwin |first=Rosecrans |url=http://www.themorningnews.org/gallery/still-life1 |title=Still Life |publisher=The Morning News |date=2007-08-13 |accessdate=2012-04-30}}</ref>. His style and techniques reference abstract expressionism <ref name="nytimes1">{{cite news|url=http://www.nytimes.com/interactive/2012/01/15/magazine/painting-with-sound.html?scp=1&sq=martin%20klimas& |title=st=cse |publisher=Nytimes.com |date=2012-01-13 |accessdate=2012-04-30}}</ref>. He uses modern technology to freeze time, thus creating a stillness that is impossible to see with the naked eye. The images he shoots are designed by fate, but he has a hand in composing and framing the pieces so that he crops each composition to be balanced. |
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<h3>Klimas' Early Works</h3> |
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Klimas’ early works have somewhat of a [[Ben Vautier]] feel to them. The idea that one must destroy art in the process of making art is not a foreign idea by the time Klimas began working like this. He has a concept of showing the viewers something they could never see with the naked eye. He conveys a message through this madness, though. Time is frozen. His message is in “the concept that this destruction can ultimately result in creation” <ref name="foleygallery1">{{cite web|url=http://foleygallery.com/exhibitions/exhibitions_past_ins.php3?exhib=28 |title=Foley Gallery |publisher=Foley Gallery |date=2007-06-16 |accessdate=2012-04-30}}</ref>. This symbolically relates to life, and the fact that new life makes death, change, and loss easier to understand. By showing the rebirth of a new piece, frozen in time in the photograph, Klimas communicates the fragility of the world in the moment, as we know it. |
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<h3>Klimas' Concept</h3> |
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Klimas communicates this message to Rosecrans Baldwin in an interview by telling her that “this moment of transformation can really only be imagined by us. I provide a way for us to see this action differently. It is an in-between state. A state where rest and motion can exist together. I hope this situation can be applied and give us thought in our everyday world,” says Klimas <ref name="themorningnews1"/>. As an artist relating to the world, Klimas focuses on translating his photographs into messages about time—being a natural and unchangeable fact. He smashes hundreds of delicate figurines to capture scenes from the explosions with a fast digital shutter speed <ref name="themorningnews1"/>. Below is an example of his figurative work: |
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[Untitled By Martin Klimas, 2005, 43.5”x51” Inkjet Print. Part of his Temporary Sculpture exhibit at Foley Gallery in New York.] <ref name="foleygallery1"/> |
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This piece is one of many in the series, Temporary Sculpture that was exhibited in Foley Gallery in New York May 3-June 16, 2007; he did this series on smashing porcelain figurines in the studio <ref name="foleygallery1"/>. The emotions captured here are initially peaceful and blissful, replacing the panic and anxiety that would be triggered by viewing this event live rather than frozen in time. This gives the viewer an opportunity to appreciate beauty in the midst of chaos, which is always overlooked in reality. |
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Symbolically, Klimas is communicating the need to recognize stillness in the hectic lifestyles people lead today. The fine details of shattered porcelain that are arrested in the air seem to be floating rather than falling. An unintentional placement of the broken pieces makes for a dynamic composition. The sound of the drop initiated the camera to begin firing shots at the piece before it became almost instantly unrecognizable <ref name="themorningnews1"/>. What was Klimas’ intention for creating this dramatically peaceful scene, though? |
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As an artist observing the world around him, he conveys what he finds in these otherworldly photographs. “An object that can be intact and so serene one minute can easily be destabilized and turned into an animated and fragmented entity” <ref name="foleygallery1"/>. This brings up thoughts about the transience of life. In each image one can identify the past, present, and future state of the object being shattered <ref name="foleygallery1"/>. Perhaps Klimas is sending the message to the viewer to pause, observe one’s present state and evaluate how it came to be and where it will lead. The forms he catches in shattering motion appear so motionless that one can imagine stepping into the frame and hearing absolute silence. |
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The opportunity to be silent and still in this chaotic world is a rarity. The concept of stopping to examine the photographs of these temporary sculptures and their beauty in this 5000th of a second window is supposed to make the audience pause, in the midst of the chaos of life, and enjoy the beauty of the moment; it’s his reminder to carpe diem and enjoy every moment <ref name="themorningnews1"/>. |
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==Klimas' recent work== |
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Lately,{{when}} Klimas has taken on a new approach with the same concept in mind. He has been working on shooting, at 1/700th of a second shutter speed, paint drops vibrating to music on speakers <ref name="nytimes1"/>. Klimas was inspired to do this series of photographs by Hans Jenny, a scientist who studied sound vibrations and the wave <ref name="nytimes1"/>. Below is an example of Kliman’s abstract work: |
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[Miles Davis--Pharaoh’s Dance By Martin Klimas, 2011. Average amount of paint used: 6 oz., Shutter Speed: 1/700th of a second. 52x46cm digital pigment print.] <ref>{{cite newspaper|url=http://www.telegraph.co.uk/culture/culturepicturegalleries/9113526/Photos-of-paint-splashes-in-mid-air-by-Martin-Klimas-show-what-music-looks-like.html?image=2 |title=Photos of paint splashes in mid-air by Martin Klimas show what music looks like |publisher=Telegraph |date=2012-02-29 |accessdate=2012-04-30}}</ref> |
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Kilmas’ handling and experimentation with paint resembles [[Jackson Pollock]]’s painting style. Kilmas’ dripping paint onto the speakers mimics Pollock’s infamous abstract expressionist painting. Although Pollock typically had more control over the paint trails, Kilmas’ control is exercised in selecting the best frame from the hundreds shot and framing it to make the best composition. |
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“Each image becomes an abstract portrait of whatever song he plays—from Miles Davis to Kraftwerk” <ref>{{cite web|author= |url=http://thecreatorsproject.com/de/blog/photographer-martin-klimas-paints-like-pollock-with-sound |title=Photographer Martin Klimas Paints Like Pollock With Sound |publisher=The Creators Project |date=2012-01-15 |accessdate=2012-04-30}}</ref>. The viewer can then experience a visual painting from the audio that is produced from the literal vibrations from the speakers from a moment in the song. The energy throughout the paint is amplified here by the bright colors. The hues begin to merge and form trails leading to the source of the vibrations. Again, like with his falling objects series, the exact location of the paint trails is left to chance. |
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The photograph he selects to print, out of the hundreds he shoots per song, is how he controls the composition. Still, the literal organization of paint in mid-air in this 1/700th of a second is left to chance. Also, part of what makes this photograph attractive is the mirrored, distorted reflection of the whole scene. Martin Klimas has invented a new method of creating abstract expressionist artwork with a new, technologically advanced technique using high-speed photography over the past several years. |
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==References== |
==References== |
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{{Reflist}} |
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==External links== |
==External links== |
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{{Official website|http://www.martin-klimas.de/}} |
* {{Official website|http://www.martin-klimas.de/}} |
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{{Persondata <!-- Metadata: see [[Wikipedia:Persondata]]. --> |
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| NAME = Klimas, Martin |
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[[Category: |
[[Category:Photographers from Baden-Württemberg]] |
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[[Category:Living people]] |
[[Category:Living people]] |
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[[Category:1971 births]] |
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[[Category:People from Konstanz (district)]] |
Latest revision as of 16:31, 19 October 2022
Martin Klimas (born 1971) is a German photographer.[1]
Biography
Klimas obtained his degree in Visual Communications from Fachhochschule Dusseldorf.[1] He has had a number of exhibitions in Germany and abroad. Kilmas has a new series called ‘Exploding Vegetables,' which is created by "firing a projectile into different kinds of fruits and vegetables reflecting our shift towards healthy food and away from junk food."[1]
Represented by
- Galerie Cosar[2]
- Foley Gallery in New York City[1][3]
References
- ^ a b c d Zavos, Alison. "Photographer Martin Klimas fires a projectile into fruits and vegetables". Feature Shoot. Retrieved 18 October 2013.
- ^ Galerie Cosar HMT. "Cosar Hmt". Cosar Hmt. Retrieved 30 April 2012.
- ^ "Foley Gallery". Foley Gallery. Retrieved 30 April 2012.