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Albrecht von Alvensleben

Albrecht von Alvensleben

*1984 in Swakopmund, Namibia

Albrecht von Alvensleben’s works are moving at the intersection between design, photography and architecture. As a student of Zaha Hadid and Greg Lynn, he could develop his interest for architecture at the University of Applied Arts in Vienna. From 2009 to 2010 Albrecht von Alvensleben studied at New York City’s Cooper Union School of Architecture with a full tuition scholarship. The imprint for applied arts, which was mediated at university, can be found throughout the works of Alvensleben – the focus on design, interior fitting and architecture give prove of that. At the Moment Albrecht von Alvensleben works and lives in New York.

 

     
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    Rücklicht

    Albrecht von Alvensleben designs highly abstracted pictorial compositions, in which he combines objects of daily life in an unique mixture of perspective, light and sharpness, in order to transform them into surreal formations. Old doors and glasses from his grandmother’s house frequently serve as pictorial objects, which he highlights with a car’s backlight to photograph them. Without any digital manipulation richly coloured shapes are created and depending on the light reflexion, they produce multicoloured oscillating and metallic glowing surfaces. The body’s cubist splitting into coloured areas reminds of the German-American painter Lyonel Feininger and his prismatic style, whose abstraction of churches and urban landscapes arised out of the motive’s adaption into a crystalline geometrical construction. And also the in several facets subdivided paintings and sculptures of the futuristic artist Umberto Boccioni can be reduced to a common denominator with Alvensleben’s colour photos. The photos’ surfaces demonstrate a peculiar feel, which ranges between glass and metal and wants to be both concrete for the observer and concrete in regards to the content. However the surreal play of colours and forms are that highly abstracted, that a decipherment is nearly impossible – the old objects of daily use aren’t recognisable anymore. 

     

    • Standard Boom Boom
    • MET.ROOF
    • Chrysler
    • Broadway Sun
    • This is your New York
    • 5th Ave 88th Street
    • High Lined
    • Met Life
     

    Dunkel wars, der Mond schien helle

    Albrecht is interested in the intersections of architecture photogrphy and graphics. As an architect he always moves inbetween of these. In these series he works a lot at the edge or inbetween of these perfections. He takes familiar scenes and buildings from New York and then uses different digital tools, solarisationfilters and different black and white converters to focus on the details. By blending out all necessary by framing the important part of the picture the outcome is the essence. What stays is the pure composition, the object reduced to the forms, lines and shadows. The photograph almost jumps over to be a graphic work, but just little details bring it back to the recognition of being a photograph.
    • Strandstreet 1 - 2
    • Strandstreet 5 - 6
    • Strandstreet 8 - 9
    • Strandstreet 15 - 16
    • Strandstreet 12 - 13
    • Strandstreet 14 - 15
    • Strandstreet 6 - 7
    • Strandstreet 17
    • Strandstreet 10 - 11
    • Strandstreet 7 - 8
    • Strandstreet 16 - 17
    • Strandstreet 11 - 12
    • Strandstreet 3 - 4
    • Strandstreet 4 - 5
    • Strandstreet 9 - 10
    • Strandstreet 13 - 14
    • Strandstreet 2 - 3
     

    Strandstreet | 25 Edition

    The Strandstreet in Swakopmund is Albrecht's place of birth in Namibia. This series shows the whole street with just photographing the in betweens spaces. The expected motive, the houses, are only shown by the same horizon and the side walls of the houses. The harsh shadows and the full colors activate the imagination.
    • Brooklyn`s Finest 01
    • Brooklyn`s Finest 02
    • Brooklyn`s Finest 03
    • Brooklyn`s Finest 05
    • Brooklyn`s Finest 06
    • Brooklyn`s Finest 07