Floris Neusüss prefers the photogram as the only expressive instrument. Over the years he became a master of technique and his long career as an artist and as an influential teacher defines him as “the master” of the photogram.
From 1954, when he attended the high school, he produced the early works and we can believe that it was the first process to use in a school.
Only six years later he applied this technique to reproduce a lifesized body. It was like a miracle.
Till the Neüsuss experimentation, the artists used small objects, transposed shadows, transparencies, this because of the difficulties, in the deceptive simplicity, in making pictures without a camera.
Floris Neusüss work with the figure is not only a challenge to the limits of a process but it is also and especially a new interpretation of the human being.
His images, ambiguous between recognizability and fleetingness of the representation, between reality and appereance, reveal the indefinite essence of the body and the soul.
Floris Neusüss prefers the photogram as the only expressive instrument. Over the years he became a master of technique and his long career as an artist and as an influential teacher defines him as “the master” of the photogram.
From 1954, when he attended the high school, he produced the early works and we can believe that it was the first process to use in a school.
Only six years later he applied this technique to reproduce a lifesized body. It was like a miracle.
Till the Neüsuss experimentation, the artists used small objects, transposed shadows, transparencies, this because of the difficulties, in the deceptive simplicity, in making pictures without a camera.
Floris Neusüss work with the figure is not only a challenge to the limits of a process but it is also and especially a new interpretation of the human being.
His images, ambiguous between recognizability and fleetingness of the representation, between reality and appereance, reveal the indefinite essence of the body and the soul.