* 1977 in Frankfurt am Main
After his studies of American culture and Sport sciences at the „Johann Wolfgang Goethe Universität“ in Frankfurt am Main and a following sojourn at the „College of Insurance“ in New York City, Daniel Völker decided to dedicate himself to his passion, the photography.
In 1999, he started an internship in a photographic studio in Frankfurt. In 2000, studies of photograph design followed, at the „Staatliche Fachakademie für Fotodesign“ in Munich, which he successfully absolved in 2003.
After some years of assisting at numerous photo productions in the range of fashion, portrait and advertisement, Daniel Völker took an outtime and moved to Sydney, Australia. There, he worked for numerous magazines and layed the foundation for his later works „Crossover“ and „Overdose“.
Back in Germany, he realized theses ideas by creating his first cycle „Crossover“. The feedback was huge. In December 2006, Daniel Völkers work was exhibited by the „Galerie d’Arts Decoratives“ during Art Basel Miami Beach. He was able to sell the majority of his work at once.
In 2008, he animated his concepts of „Overdose“ and realized a large-scale cycle of 49 works followed by „Overdose2.0“ in 2009.
„Crossover“, „Overdose“ and „Overdose2.0“, deal with the „vision at second sight“. It is intuition that encourages the viewers to think.“Good work of art should not just be decorative, but also lead the viewer into a deeper state of mind“, says Völker.
Daniel Völker lives and workes in Munich and Berlin.
The term Crossover refers to the idea of combining two different genres with each other. This series creates a dialogue between a famous historical painting and a modern erotic photograph.
However, the concept does not merely entail the combination of different genres of art. The artist takes up the painter's concept and tries to incorporate the situation displayed in the painting into a story. What results is the Crossover series. Daniel Völker tries to grasp the painter's actual fantasy. He frees the historical painting from all taboos to reveal the actual idea the painter may have had and the thus connected sensuality. As the photograph describes the painter's dream or erotic fantasy, it is displayed blurred. Both worlds - the painter's restrained fantasy and his actual desire - melt into a new piece of art. This way, the painter's idea is transferred to modern times. In this respect, the photo does not only relate to depictions of content. The interactive character of the complete series is enhanced by common compositional features. For instance, by the physical similarities or nearly identical poses of the protagonists, who are provided in the same number as in the painting. The artist also plays with different courses of movement that reach from one work of art to another. The viewers find that their impression of the picture changes once they change their position - a characteristic feature of the series. The greater the distance to the work of art, the more the photo becomes apparent, and the painting comes to the fore the closer one stands to the piece of art. It is up to the viewers to decide in which way they want to approach the sensuality displayed.
Title: Crossover 10 Boucher | 2006