Daniel Völker
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* 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.
Overdose
Overdose refers to the overdose of colour, shape and impressions provided in this series of photographs. On the basis of erotic pictures, this flood of impressions describes the excessive supply of information that is provided to us via the Internet day by day, pixel by pixel. The artist places up to 20 different pornographic photographs on a square pictorial space – which alludes to the pixel format – in a certain arrangement, one upon the other. This creates different image levels, perspectives and picture details, which convey the impression of three-dimensionality. The “overdose” of the thus resulting impressions urges the viewer to concentrate on certain details or levels. This way, new pictures can be discovered constantly within the picture. Partially, these new pictures actually exist, but often they only are a product of the viewer’s imagination. Due to the visual overdose of stimuli on the retina, the viewers will only perceive what their imagination and experience allow them to see.