Leon Emanuel Blanck and Jakub Kubica are both multidisciplinary artists working extensively in the fields of art, design, fashion and sound performance. In their practice they investigate the past through deconstruction and reconstruction of natural objects such as stone, wood and the human body. As a result of their modular transformation, the information is re-sketched, and evokes a new sensory experience. This process is a way of self-awakening and transcendence, and represents an attitude of Blanck and Kubica's artistic creation.
Leon Emanuel Blanck was born in Germany in 1985. His eponymous clothing label is well-known in the high fashion industry. Like his design philosophy, his sculptures are inspired by the interaction between the human body and other physical objects. Blanck utilizes a common yet unique material, X-ray film, to decipher mysteries of the body. He organically deconstructs the body and then consciously rearranges the ordered information, shaping new odd creatures seemingly stemming from another universe.
According to the artist, they are each created as an expression of his Anfractuous Distortion universe, where every piece represents an extension of its original concept. Drippings, lines, reflections – all are called upon to transport the artist's obsession with volumes, movement, and materials onto physical objects, sculptures and more. Each creation exudes a sense of abundance, strong presence, and substance.
Jakub Kubica was born in Slovakia in 1992. Modularity is a central tenet of Kubica’s work, recurring throughout his installations, sculptures, video works, and sound performances. Across each medium, the synthesis of objects of natural origin with technical or digital matter has become a distinguishing feature of Jakub Kubica’s practice. He is involved in Berlin master finalist of 2021.
Interestingly, natural elements of his art such as stone, rotting wood, sand, and soil demonstrate no indication of life. As these elements interact with technology and digital components, Kubica invites spectators to envision themselves in a future period, to investigate living beings from an archaeological perspective, and to appreciate both the beauty and the darkness of the present. The art works seem like a quip to rational thinking, prompting the spectator to consider the existence, worth, and significance of these combinations.
Beuys talked about “the task of art” in a 1983 interview when he said that "Understanding" should be interpreted differently. It should not be understood in a purely intellectual logical sentence like "What does that mean?”. Instead, one must understand it with one's whole being, in the sense of understanding, so that art enters the person and the person enters the art.