World citizen

'Don't open my window'

Photographic work on the Daubenhorn in Leukerbad, Valais.

The climate crisis, which is at the heart of human concerns, is changing the Swiss Alps. Temperatures are rising, glaciers are melting and the thawing of the permafrost is compromising the stability of the mountain ranges. According to the Federal Office for the Environment (FOEN), 6 to 8% of Switzerland is unstable. Settlements underneath permafrost zones can expect landslides and mudslides in the coming years.

The basis of the work "Matters" is a series of photographs dealing with the theme of the mountains, which are strongly affected by climate change and are transforming the Swiss Alpine landscape.

  
The rock face of the Daubenhorn in Leukerbad, photographed by the artist during a residency on the spot, is a recurring theme for the artist. "I was able to observe the rock face throughout the seasons and I realised that the mountain makes sounds throughout the year and resonates in the basin occupied by Leukerbad. The mountain changes, crumbles, and often in the winter undergoes large avalanches thus providing the music of the landscape. The work done on the Matters series is a poetic and sometimes frightening image of the mountain that disappears and crumbles little by little to finally show the substance of the rock face.

  
Pictorially, the digital treatment of the photograph, makes a work suggesting the pictorial work of the artist, it is no longer the painting which wants to reproduce a photograph but well and truly the photograph which evokes a pictorial gesture. The spectator is borrowed in front of the work not knowing if it is a work in ink or a photograph where the essence of the rock is cracked by the digital act (some pixels are selected and erased to suggest the degradation of the rock).
  
  

Matters

 cubo distorsionado

Ecosystem 

august

ENSO

Genesis

> **_I like to make fun and beautiful pictures with decorative value. My goal is to make your space more beautiful and make it fun for the viewers._**

Camel

A Word That Doesn't Exist・存在しない言葉

_AFLOAT NO. ONE_

2023

Fragment of damaged carbon fibre und kevlar sail, segments of carbon fiber fishing rods, altered stainless steel boat fittings, nylon boat dock cleats 48 x 68 x 10 cm / 18 7/8 x 26 3/4 x 3 7/8 in Unique

Through solo exhibition _AFLOAT,_ the artist Daniel Hölzl delves into the transformative journeys of carbon and water, fundamental elements of the fabric of life. Water that permeates all organisms, once intertwined with carbon, forms the foundation of life's molecular structures. Hölzl’s work draws inspiration from the philosophical paradox of the _Ship of Theseus_, reflecting on the notion of permanence and the history as well as fluidity of materials. AFLOAT also addresses the ecological challenges posed by petroleum reliance and the presence of floating plastic waste in contrast to the romanticized idea of sailing.

In his series _AFLOAT_ Daniel Hölzl examines the intricate relationship between sustainability, temporality, and transience, focusing on the transformation of petroleum into synthetic fibers. Modern sails, layers of synthetic fibres glued together with resin and therefore nearly impossible to recycle, are given new life in this works. Used, damaged sails are creatively combined with misappropriated objects from the nautical world. By incorporating sails, renowned symbols of freedom and exploration, the artist delves into the history of materials and the fluidity of their meaning.

AFLOAT NO. ONE 

In a moment of solitude, anxieties flourish in the quiet. Surrounded by impulse purchases, living far beyond personal means in pursuit of happiness, romance, acceptance and social recognition. In a world where social media allows us to depict the life we want to project, is the female experience and identity being pre-determined in a new format? 

An Outstanding Way To Live

The painting "Holographic Garden" portrays a garden in full bloom, with various beautiful spots that invite one to dream and linger. However, the view is blurred or obscured, as if one were walking from the kitchen to the garden with half-opened eyes after waking up. The morning mist has not yet cleared, and the sunlight breaks through, creating a play of light on the small droplets of mist which causes this holographic lighting in the early summer mornings.

Holographic Garden 

I am a mere observer of my environment.
A useless observer of my people and my country.
A country not only hit by the pandemic, but also a turmoil of endless political and economic crisis. 
The most disturbing feeling is that of being useless, hopeless and filthy.
I cannot undo what has been done. 

Acrylic on canvas
120 cm x 160 cm 
2021 

‘ Matsyendrasana’ in collapsing Beirut 2020

One of these days

60 x 90 cm,
inkjet print on Hahnemühle Photo Rag Baryta

No #09-060090-05

Statement:

My work is influenced by the exploratory coalescence of Art, Science and Spirituality. Studio production abstracts scientific and diagnostic strategies when conducting introspective experimentation, centralized around my deceased grandmother’s ancestral home. This space; where I live/work activates cultural analysis in relation to the ‘specimen’. Housing objects of investigation metaphysically linked to my Japanese heritage. Enigmas encountered during domestic excavations of displaced memorabilia, initiate intrigue towards former dwelling ghostly-bodies and their residual earthly possessions. Cultural objects are converted into cultural-specimens via tactile methods of dissection, modification, reanimation and preservation. Each chronological phase assimilates fragmented lineage, pertaining to the-self/examiner. Genealogical gaps unveiled among sequestered archives, constitutes a focus on tangibility, transience and liminal mortality.

Systematic installation subsequently reinstates specimen-hybrids within a network of refurbished Japanese display cases/cabinets. Transformed into incubation machines, to revive the objects originally stored within them. Each specimen/container is then taxonomically collected and labelled, corresponding to a counterpart analogue textbook. Operating as a laboratory record by transcribing evolutionary-variants and observational-data. Its didactic formatting re-establishes works through biostatistical documentation, illustrating investigative intent for each preserved subject. Museology informs the cultural extraction and rehabilitation of relics, utilizing assemblage to cease erasure and reclaim displaced artifacts. This circulatory exhibition transmutes life and death; conjuring ethereal perceptivity to restore ethnological DNA. Implications of relinquished language oppose western classification and constructs a historical discourse within my present-day work. The rectification of silenced-bodies relies on each works’ bio-memetic materiality; to unify the premise of restoration across multi-dimensional platforms. Synthetic, found, organic and spectral objects evoke vital symbolism within my habitual practice. I navigate transgenerational epigenetics and hauntological ontology by anthropomorphizing the realm of loss.

Materials: 
Silicone, Tubes, Wire, String, Inherited cultural objects (altered), Archival photos/Scripture, Medical/Government docs, Latex, Plastic, Metal, Mylar, Wood, Specimen Jars/Glassware, Curtains, Traditional Japanese display cases (altered), Plaster, Acrylic/Oil paint &medium, Tags/text, Encaustic wax, Medical objects, Dissection equipment, Resin, Hardware/tools, Bones/Skulls, Insects, Nylon, Stuffing, Metal grates, Petri dishes, Agar, Gelatin, Borax crystals, Traditional dishware, Preservative liquid, Fabric, The departed’s clothing, Cabinets (filing/china), Hair/Skin/Nails, Fabrics, Rice, Fungi, Rice paper, Canvas, Didactic labels, Sewing thread, Wall phones, Clay, Relics/Heirlooms (altered) etc.
Dimensions: 108” x 80” x 90”

Warm Bodies, Ghostly Specimens, Stoic Machines | Installation

The Adventures of Tintin is a series of cartoons created by Belgian cartoonist Georges Remi. Kim received a letter from his girlfriend and the illustration of the letter was the Adventures of Tintin. Kim was inspired by the image, and decided to make this work.

The foreground is filled with explosions expressed with oil stick and oil pastel, along with smoke expressed with oil. The middle view shows a falling plane(Tintin) and the far view shows pink liquid that already seems to have exploded.

Tintin and Bang!, 2021, oil, oil stick, and oil pastel on canvas, 63.85 x 51.3 inches

The series is called "A Piece of the Pie" and consists of more than 50 works.
Through their cartographic and biomorphic references, the works point to the discrepancy between the natural and the constructed space.  The name of the series originates in the dialectic of the conquest of territory, especially the remains of the colonialist fight for influence where everyone tried to get a piece of the pie. The pieces are always fragments of an unknown lost whole. The works are mounted on the wall (similar to trophy heads of animals) and their relation to the space around them is intricate. At times, the edges of the works follow natural formations similar to physical geography and at others, they halt abruptly like randomly assorted international borders. 
The individual pieces of the series are connected by their experimental quality and their material nature to form a complete unit. However, they also operate as a stand-alone system. The materials and textures highlight the interaction between different systems, analogous to our world and its diverse ecosystems.

A Piece of the Pie

2020 - Coloured pencil on paper

In this series, I combine real life proportions with a stylised drawing approach, exploring an intense, fleshy red colour palette and elements of the present-day. This allows me to transform the traditions of classical art present in my work into ambiguous narratives of modern life. Keeping naturalistic proportions and cinematographic compositions reminds the viewer of real life, yet the carefully chosen styling and colour creates a new world. My characters have complete freedom of expression and the viewer may question whether they are seeing something that truly exists or works of fiction.

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