Art Hound

Angie Iver is an artist living in Dusseldorf whose dramatic, vintage-inspired black and white drawings took me off-guard. Read an interview with the artist here.

.

.

..

.

.

.

Maria Sulymenko is a German artist and member of The BamBam Collective. These illustrations have a beautiful starkness. The dramatic scale makes the figures look like tiny ants and confounds your sense of perspective in an amusing way.

.

.

.

.

.

.

.

.

I’m not a huge fan of digital art as a genre I guess because it often feels lacking in emotion or humanness, but when done well, like this work is by Holger Lippmann of Berlin, it is truly breathtaking.

“when i came back to germany in 1994, i moved to berlin, right in the middle of the electronic music boom, i started pretty radically to work with computers (only), i knew i have to work the same way like the music i was listening to was made… since then, none of the fascination of working with software and internet based networks has abated… deep inside i’m a painter and i always was. so i see my work best described in the traditional context of painting… these works shown here, are programmed and recorded as vector files, thus they are unlimited scaleable without a loss of quality.” – artist profile on flickr

.

.

.

.

.

.

.

.

. 

via ernests.

Cornelia Baltes is a German artist whose paintings, with their simple, bold graphics and humor, grabbed my attention.

“I explore the relationship of composition, colour, gesture and materiality in fields that push the photographic to the painterly and the painterly to the spatial. The viewer catches an idea of beauty – hidden in simplicity – in a small gesture, in bright colour, through capturing the essence of an easy idea.” – artist statement

.

.

.

.

.

.

.

.

Angela Dalinger is a freelance illustrator based near Hamburg, Germany.

.

.

.

.

.

.

German artist Frauke Thielking via Fine Line Magazine. There’s real poetry in these images and in the 2:1 ratio they are displayed (disclaimer: I put the last duo together). This is not to mention the work’s existential jab with it’s everyday citizens relegated to shapes and patterns.

.

.

.

.

.

.