Now you know this blog by now; we go out of our way to find er, out of the way automotive treasures in whatever form they may be in. Well, today's find was by way of a print I was given a few years ago (and which takes pride of place in my office foyer); and quite frankly, I've been hooked ever since.
The artist in question is Yves Krief, who creates vivid photo montages of fantastical urban landscapes. Using real photographs of global metropolises, Krief hybridises these cityscapes to paint an ominous future following the effects of globalism. In his featured series One Hundred Titles, each piece tells a different story about the changing cultures of the city, open to interpretations with a myriad of details.
Born in 1959 in France, Krief first made a name for himself at the Salon des Indépendants in Paris and has received critical acclaim from international exhibitions and art fairs.
In the words of Monsieur Krief:
Through the language of the unconscious, its symbolism and pictorial representations, the density of meanings and color choices that I operate, I tell universal stories with multiple readings, that is why all my pictures have the same name: "a Cent Titres” because In French the word "sans" means (Without) and the word "cent" means (one hundred) in phonétic“cent titres” means without title and also hundred titles.Now, while Krief's art is chock full of disparate and sometimes recurring imagery with new detail that seems to catch the eye on every viewing, it also features some cool cars in prominent and peripheral positions. AMC Javelins, Pontiacs, Edsels, Cobras, Studebakers, Chevys, and several cool bikes feature in some of his art, but as you can see from the examples of his work I show here, Krief's pictures are about so much more than that, and are a feast for the eye and well worth perusing in more depth.
Each of my compositions mission to cross the barrier of delayed memory in order to converse directly with the unconscious of his observer.
Above all the charm must operate either a positive or negative feeling it does not matter.
Initially the graphic balance, harmony of color and aesthetics of the composition draws the eye or disturbed. When close enough, is the diversity of elements or "symbols" that challenge the viewer.
This density function is to misplace it.
Each scene has its own reason for being all melted in a package that appears to be clearly structured and coherent. At this stage the mind is overwhelmed by a mass of information that it is impossible to synthesize, aided by the natural desire we have to give meaning to what we escape, entangled in the maze of signifier, only emotional intelligence can find his way. It follows a form of letting go that allows the unconscious to drag his own reading and observer finally select, albeit unconsciously, only the different symbols that speak to him and make its own resonance history.The picture becomes mirror.
Some more examples below, and more here.