Composition with Stalin, 2012 Lightbox
Schizophrenic puzzle, 2012 Lightbox
CDO CDS NWO, 2011 Lightbox
Disinformation, 2011 Lightbox
The scream, 2011, Lightbox
Steppe rider Buzkashi, 2011, Lightbox
Nightrider Buzkashi, 2011 Lightbox
Paata on Horseback, 2011 Lightbox
it looks not really finished and rather rough, I keep it for now and start on another version
Hans Heiner Buhr 2012, Oil on Canvas
Join me on Sunday, if you are in Tbilisi !
A lightbox is a glowing image, it's an object, and an installation also. It's an image that first gives all the energy of light and only thereafter forms as a semiotic image. I have been interested for a while in the secrets of semiotics, the science searching for the rules of signs and images. Semiotics is about the how, what and why and to whom the image speaks and to whom it is not understandable.
Stalin for example is a very powerful sign; his face immediately creates strong emotions, but surely very different ones to a Georgian viewer, to a Polish viewer, to a German or to a Chinese. His face mostly looks calm and settled, with an inner strength of character, sometimes friendly and warm -- but his legacy and his deeds are not visible. But how does a painted portrait of Stalin speak to us? What changes are there made, intentionally or unintentionally, by the painter? Into what has this object changed, that formerly was an "objective" portrait?
I like the words in Twin Peaks series: "The owls are not what they seem." I believe in the mystery we can create with images and in the stream of mystic reality we are living in our time every day. I'd like to see the lightboxes as mystic metaphors that change over time in meaning and understanding.
