.

SUPER(FAT)HEROES


SUPERFATHEROES I & II (Fat Thunder & Lady Boobstrap), sculptural Woodcuts, November 2016
© Alex Diamond 2016
 

These more "playful" works were created for DON‘T WAKE DADDY XI, the annual super-group -show at Galerie Feinkunst Krüger in Hamburg, curated by Heiko Müller and Ralf Krüger.

They are mounted to the wall using magnets, so they seem to „hover“ in the air like superheroes do. The distance from the wall can be varied depending on how many magnets you place between wall and artwork. The backsides of the works are painted blue & red to have a slightly different shadow. 

Check for availability through sales@heliumcowboy.com

 

 

Trophy for HANS Award - der Hamburger Musikpreis

The "Diamond Cassette Player" - woodcut, painting and sculpture combined for the 2016 HANS Music Award-Trophy.

I had the honor to create this year's trophy for the music award HANS der Hamburger Musikpreis. It is an annual award, each year the organizers invite an artist to create a unique trophy. The only prerequisite: the rectangle and 3-dimensional format. The trophies will not be reproduced but are originals for each category. A big job when you have to create 11 trophies ... but a beautiful one as well. I had lots of fun coming up with my very own version of a classic cassette player ... the Alex Diamond Portable Tape Recorder! 

Just thinking about who now has an original Diamond on their trophy shelve at home makes me feel very proud! The winners: Beginner (they won in three categories), Music Icon and Legend Udo LindenbergHaiyti aka Robbery, Johannes OerdingFARHOT and Folkert Koopmans. (Hope it's not just going to be firewood ...)

Thank you Uriz Von Oertzen and your team for the support and to show host Lukas Nimscheck for the nice interview on the historic music stage at the Markthalle Hamburg!

Below are some images and a short video - as I was also given the opportunity to talk about the work live on stage at the event (in german). 

 

 

About that drink ... | new woodcuts October 2016

Installation view of the complete series "About that drink ...", October 2016

Four new sculptural woodcuts shown first at the exhibition of„The Dirty Hands Of Alex Diamond“ - a small series dealing with the spirit(s) of drinking. The series is called „About That Drink ...“ and currently features the individual works „Mistress“, „Lover“, „Brother“ and „Saint“. Each work is  a stand-alone piece, but can also work in combination with the others.

These works can be mounted on a wall or placed free-standing. You can check availability here

The Darwinist | new woodcut

Alex Diamond: The Darwinist (2016)
woodcut, acrylic paint, 63 x 36,5 x 5,5 cm (24,8” x 14,4” x 2,2”)

Let me introduce you to ‚The Darwinist‘, a strong-minded, slightly aggressive yet humble and thoughtful Wooden Being ... best spotted in the early mornings. when the air is crisp and clean. Living in the outdoors, far away from civilization but strongly connected to mankind. 

First in a new line of sculptural woodcuts, this work can be mounted on a wall or placed free-standing. It consists of 2 parts that are easy to assemble - just slide the character into the base.

For the exhibition "MENSCHTIERWIR", curated by Elmar Lause at Affenfaust Galerie in Hamburg.
October 7 – November 11, 2016. Vernissage October 7, 8 PM.

Temptation and Sin | new woodcut dyptich

Alex Diamond: Gefaellt 775 Mal (2016)
Acrylfarbe auf Holzschnitt, 32 x 45 x 5 cm | Instagram users @miss_sophie_photography @laurakokinowa

A new pair of woodcuts for „#gefaelltdas“, my ongoing series of small format woodcuts... another framed dyptich. 

It will be shown at an international group exhibition organized by art project Curator19.90 in Beirut this October, curated by Rasmus E. Fischer (Galerie Wolfsen).

The Instagram screenshots I turned into woodcuts are inspired by the users @miss_sophie_photography and @laurakokinowa ... please check out the profiles and follow these great ladies!

The work is available through Galerie Wolfsen, please get in touch with Rasmus if you are interested in these works

Along the banks of Rivers | woodcut

Alex Diamond: ALONG THE BANKS OF RIVERS (2016)
woodcut, acrylic paint, 50 x 70 x 3 cm (19.6” x 27.5” x 1.2”) 

A very simplified, abstract landscape carved into wood earlier this year. "Along The Banks Of Rivers" is the title of a Tortoise song from 1996. One of my all time favorite pieces of music, and the title for me bears also a significant autobiographical reference - all my life everything of real importance happened while living close to a river ... 

New Woodcut for series #gefaelltdas

Alex Diamond: Gefaellt 4.479 Mal (2016)
Acrylfarbe auf Holzschnitt, 32 x 45 x 5 cm | Instagram users @myladalbesio @insaanimal

Oh well. Here's finally another pair of my Instagram woodcuts from the series #gefaelltdas. But they're different from the other ones - on one hand, even though both individually are the standard size and all, they belong together and stand in a contextual relationship to each other (so it's a modern diptych). And on the other hand they are uniquely "framed". These frames though are an integral part of the work. I will explain if you ask, but maybe the work process images below already give you an idea. 

The Instagram screenshots I turned into woodcuts are by the users @myladalbesio @insaanimal 

I never promised you a Rose Garden | woodcut

Alex Diamond: I never promised you a Rose Garden (2016)
Multi-layered woodcut, acrylic paint, ca. 80 x 60 x 11 cm (31,5” x 23,5” x 4,5”)

New 5-layered woodcut, created March–April 2016:

Alex Diamond: I never promised you a Rose Garden (2016)
Multi-layered woodcut, acrylic paint, ca. 80 x 60 x 11 cm (31,5” x 23,5” x 4,5”)

Background

When it comes to superheroes, at some point I will always come back to The Incredible Hulk, whom I‘ve used as a reference in my woodcuts for a few times already over the past years. For me personally there are so many angles to the big green fella that I am sure you will see him appear again in my future woodworks.

Alex Diamond: I never promised you a Rose Garden (2016)
Multi-layered woodcut, acrylic paint, ca. 80 x 60 x 11 cm (31,5” x 23,5” x 4,5”)

But as with most of the figurative elements in my work, I am using the Hulk mostly for his symbolic values: he is torn, powerful, unpredictable, unstable, and in constant soul-searching for the reasons for his being - all strong references to life itself and the daily struggles we often deal with. 

However, in this work ... the Hulk is looking down into the golden light that shines from the bluff he is sitting on, and he is ... smiling. Ever so slightly, just a smirk that you only see when standing close to the artwork - but a happy smile it is. It appears that he has made his peace.   

For some background trivia: There are two very popular „quotes“ in this woodcut: the Hulk‘s posture resembles Auguste Rodin‘s „The Thinker“, and the title derives from the famous country song „(I never promised you a) Rose Garden“. 

The reference to the sculpture is mainly about visual familiarity, putting the Hulk into a less violent and non-agressive environment. All despite the fact that „The Thinker“ originally sits at Rodin‘s„Gates of Hell“ and is definitely not smiling. But he is however also more or less just an observer. 

The title from the Joe South country song „(I never promised you a) Rose Garden“ completes my composition and is to be taken pretty literally. Because like most good music, stories and paintings are about the one thing only, this woodcut is also just another love song.

Everything else regarding the stories within this work I am sure you will figure out easily enough ... 

#gefaelltdas | New series of 'Instagram' woodcuts

With my latest series of woodcuts, a new project I call '#gefaelltdas', I am exploring modern-day habits of interaction, (self-)reflection, perception and deception, borrowing the imagery as well as the values that we all have become so accustomed to through using Instagram. I am not criticizing social media, being a heavy user of mainly Instagram and Facebook myself. As an artist, curator, collector and gallery owner it has become a part of my daily routine to promote my work and even my lifestyle online.

continue reading below ...

For me creating art is also a very personal way to research and discover, to experiment and proof. It helps me to study and investigate life and the issues we interact with as humans, trying to satisfy my curiosity and to built (or develop) my ‚visual stories‘ upon my findings. I am mostly interested in the social and cultural aspects of the human habitat, and while some things may look supersimple and obvious to others, I have to dig in deep if something excites my ‚artistic instincts‘ until I am personally satisfied. 

With ‚#gefaelltdas‘ I am going down the path of interaction, perception and deception, borrowing the imagery that we all have become so accustomed to from Instagram. As with most of my work, during research I am setting some ground rules through iteration to achieve my results. These rules or guidelines are a way of outlining the work I will create in the studio afterwards, which it is a vital part of my sketching process.

For example in the first work of the series (see below) I was narrowing down the principles after which a certain kind of selfie is being composed: shot into a mirror with the smartphone covering the face. The awkward angle of the camera leads to an interesting perspective of the overall picture, with abstract-looking lines in the background. For the following pieces I use these findings and continue to search for something „iconic“ in the imagery in the sense that this is conditioning our behaviour and our viewing patterns. It will always be related to how we compose and consume photography on Instagram, but also, like in the animal images, to the kind of content we devour.  

To drive the recognition value of the imagery to the max, I am using the frame of the Instagram posts from the username/handle down to the interactive part and the number of likes, which seem to have turned into a hyper-valued currency these days.

That is why I am naming the artworks after the amount of likes of the source image. And because in the german version of Instagram on my smartphone a „like“ becomes a „gefällt“, the whole series is named ‚#gefaelltdas‘. I actually registered @gefaelltdas , a new Instagram account next to my regular one (@alexxxdiamond), where I will also document the project.

In regards to my distinctive woodcutting technique applied here: because of the smaller size of the woodblocks (18x 24 x 3 cm / 7” x 9.5” x 1.2”), the text becomes a bit choppy and almost unreadable, but everything is actually carved into the wood, while the color is mostly rubbed into the cuts. The pigmenting and painting of these works resembles old russian icon paintings, and while I am not pursuing any religious ideas here, the golden, vintage look and the choice of a „new iconic imagery“ supports the theme.

For updates:

Please check this online-portfolio below. I will update this document when I add new work.

You can inquire about the availability of the individual pieces by clicking the links inside the portfolio. And of course you can check directly here.   

And of course please follow my own Instagram at @alexxxdiamond for my latest artworks, photography and nonsense. 

The icons | more superheroes

Alex Diamond: Cash Only Motherfucker (2016)acrylic paint, woodcut, 18 x 24 x 3 cm (7.8” x 7.8” x 1.2”)

Alex Diamond: Cash Only Motherfucker (2016)
acrylic paint, woodcut, 18 x 24 x 3 cm (7.8” x 7.8” x 1.2”)

Alex Diamond: A Is For Anarchy (2016)acrylic paint, woodcut, 18 x 24 x 3 cm (7.8” x 7.8” x 1.2”)

Alex Diamond: A Is For Anarchy (2016)
acrylic paint, woodcut, 18 x 24 x 3 cm (7.8” x 7.8” x 1.2”)

Alex Diamond: The Knight And The Demons (2016)
acrylic paint, woodcut, 20 x 20 x 3 cm (7.8” x 7.8” x 1.2”)

Click this link to view (and download) the complete ICONS-Portfolio.

Alex Diamond: Long Beard, Hairy Ass (2016)
acrylic paint, woodcut, 20 x 20 x 3 cm (7.8” x 7.8” x 1.2”)

The Icons | #girlswithtattoos

Alex Diamond: #girlswithtattoos (2016)
acrylic paint, woodcut, 18x24 cm (7” x 9.5” x 1.2”)

Love the structure of the wood on this one...
Click the image below or this link to view (and download) the complete ICONS-Portfolio.

Alex Diamond: #girlswithtattoos (2016), acrylic paint, woodcut, 18x24 cm (7” x 9.5” x 1.2”)Click image to view (and download) the complete ICONS-Portfolio.

Alex Diamond: #girlswithtattoos (2016), acrylic paint, woodcut, 18x24 cm (7” x 9.5” x 1.2”)
Click image to view (and download) the complete ICONS-Portfolio.


The Icons | New series of woodcuts

Alex Diamond: The Thing vs. Deadpool (2016)
Acrylic paint, woodcut, 20 x 20 x 3 cm (7.8” x 7.8” x 1.2”)

Here‘s is a new direction in my woodcuts - an open series with various themes and formats, with technique and colors as the one thing in common. The pigmenting and painting of these works resembles old russian icon paintings, and while I am not pursuing any religious ideas here, the golden, vintage look and the choice of iconic characters is a main theme. 

Looking at these images in this portfolio, please consider that my work is always rather difficult to document - woodcuts are so much harder to reduce to a Jpeg than a painting or drawing. They are simply never just „flat“ - it is the carving that gives them depth and a very special feel. Even my very own coloring techniques are so hard to see if you are just looking at the pieces on a screen. 

It is again very true for this new line of work I am currently creating. These russion-icon-like small-format-heavily-worked-on-blocks-of-wood I am currently creating. They all are rather small, and I love running my fingers over the surfaces of them. They feel almost ancient, and they look different from every angle, and the light changes them depending on where you stand. Or hold them in your hands. 

It is a beautiful experience. Well, at least it is a unique experience.

Believe me, I find the process of photographing them and uploading them to the internet pretty frustrating. So much gets lost. 

You all should be able to see the originals, feel them, touch them. My work is a very haptic and sensual experience, one that I would love to share with all of you…

PS: These works are available through Galerie Wolfsen

First show and new artwork in 2016

Alex Diamond: Encounter at 4 am (2015)
Multi-layered woodcut, acrylic paint, ca. 150 x 125 x 13 cm (59” x 49” x 12.5”)

„Encounter at 4 am“ is a woodcut built from 6 layers in total, and it‘s the deepest I have created to date. It takes us far into a forest for what appears to be a rather unusual encounter between a hunter and some kind of mythical animal, resembling a man and his responsibilities in life. You could say that there are elements of inner conflict, of patience, hesitation, surprise and tension perceptible in the meeting of the two parties.

This encounter in the depth of the woods takes place in the very early hours, when the day still seems to be full of innocence and opportunity. Being an early bird myself, with my days often starting some time between 4 and 5 in the morning, I appreciate the solitude and tranquility of these moments before the world wakes up for its daily grind. It is a time you truly have to yourself. Thoughts spin slower and with more depth. Energy levels are fully charged but only used ... delicately. Creativity arises, ideas are born, but everything‘s still a bit dreamy in a softly distorted way. It is an excellent time for decision making, albeit in a rather lighthearted and slightly irrational way.

This woodcut will be first shown at the exhibition "PULS'16" at Gallery Wolfsen in Aalborg, opening January 9. (link: more info & Facebook event

The Great Outdoors

Alex Diamond: The Great Outdoors (2015). Three Multi-layered woodcuts, acrylic paint, ink, each ca. 30 x 23 x 7 cm (12” x 9” x 2,7”). © Alex Diamond

A rather lighthearted series of three (individual) woodcuts, “The Great Outdoors” shows my deep respect for nature and wildlife as well as my desire to travel the countryside and enjoy nature’s wonders. Relaxing in in front of a crackling campfire with a few beers, a guitar and my family or my best friends is probably the closest I will ever get to so-called ‘Wellness’-activities. 

These woodcuts are the outlook you have from the edge of a forest. However, these works are not just postcard images. The added warnings, albeit in an aesthetically freely interpreted version, are reminiscent of the various safety information signs in a National Park. Here, they are comments on current social behaviour … which I guess I won’t have to elaborate any further on. I am sure you’ll get the idea. 

More detail images below.

These three works can be seen at "Don't Wake Daddy X". An international Group exhibition, curated bei Heiko Müller & Ralf Krüger, opening December 5 at Feinkunst Krüger Gallery in Hamburg. 

Artists: Van Arno, atak, Anthony Ausgang, Dan Barry, Jana Brike, Chris Buzelli, John Casey, Victor Castillo, Paul Chatem, Brendan Danielsson, Danielle de Picciotto, Alex Diamond, Mark Elliott, Charles Glaubitz, Benjamin Güdel, Thorsten Hasenkamm, Gregory Hergert, Ryan Heshka, Femke Hiemstra, Charlie Immer, Gregory Jacobsen, Boje Arndt Kiesiel, Susanne König, Craig LaRotonda, Elmar Lause, Sean Lewis, Jon MacNair, moki, Sergio Mora, Heiko Müller, Thorsten Passfeld, Anthony Pontius, Bene Rohlmann, Wolfgang Sangmeister, Marcus Schäfer, Allison Sommers, Fred Stonehouse, Marco Wagner.


The Milkman Of Human Kindness

Alex Diamond: The Milkman Of Human Kindness. Multi-layered woodcut, acrylic paint, resin, 115 x 85 x 9 cm (45” x 33,5” x 3,5”), October 2015

This work, created over a stretch of four weeks in October 2015, is one of my so-called ‘sculptural multi-layered woodcuts’: it is built up from several layers of wood and combines my trademark woodwork & woodcarving craft with specially developed painting and pigmenting techniques as well as the application of semi-translucent resin in some parts. 

“The Milkman Of Human Kindness”, the title of the work, quotes a song by artist Billy Bragg from 1983. During the creation of the work, the song subconsciously crawled back into my head. I listened to it a lot during the punk-driven early 80ies back in school; I wholeheartedly admired Billy Bragg for his straightforward music and his strong political attitude.   

My work however is not about punk. The song (for me at least) has always been about compassion and about being there for someone who is having a bad time. Shakespeare’s Lady Macbeth criticizes her husband for being too compassionate with the words: “Yet do I fear thy nature; It is too full o' the milk of human kindness“, and this expression has since been used as a paraphrase for the care and compassion for others. And taking this (freely) a stepfurther: If there is such a thing as the milk of human kindness, there may as well be a milkman delivering it to your doorstep, right? 

And this is what my work is about. I will not go and explore this in writing too deeply here, because that can easily become an evening-long talk I hope to have with many people personally. While I actually tell a story with every work I create, you may see different angles and aspects in it that I don’t want to take away from you by elaborating on theartwork already too much beforehand. It is important to me as an artist that the viewer has every opportunity to explore my work independently.  

What I will say though is that for me, nature (bear, mountains) and technology (telegraph poles) are an integral part of this piece. There is a huge conflict between the two, mainly in the struggle we’re living to try and find harmony (or balance) between both. While I am not necessarily aiming at the environmental issue here, in my work this struggle is rather a symbol for the larger battles humanity is currently fighting, most presently in the terrible wars that result in people losing their home and having to flee their countries to save their lives and those of their families.  

I have been using the bear many times in my work before. You may say that it has become some kind of spirit animal to me and it definitely has significance as to my role within my own loving and caring family. Which is not the point, really, but may explain the importance of the imagery of the sleeping animal for the understanding of the artwork. 

I hope I haven’t said too much, and didn’t confuse you either. I wish you will enjoy “The Milkman Of Human Kindness” as much as I did creating it. 

 

If you are sleeping, I will wait
If your bed is wet, I will dry your tears

I love you, I am the milkman
Of human kindness
I will leave an extra pint

(Billy Bragg)

Jörg Heikhaus (aka Alex Diamond), October 2015

 

Below are some details from the work, and here you can find images from the work in progress


Work in progress: at the workshop

At work in the shop: carving one layer of the woodcut.

At work in the shop: carving one layer of the woodcut.

Sometimes I manage to document my work process properly while I am creating a new piece. Currently I am making a new and complex, multi-layered woodcut. I am posting progress pictures continuously on my instagram account (@alexxxdiamond) - please feel free to follow me if that is something you might be interested in seeing. 

Some work in progress pictures, to be continued (on instagram):