Tobias Batz' work, a fusion of fashion photography and street art, is a respectful celebration of the female sprit. It reflects the urban landscape of New York City and its inhabitants. His cutting edge use of photography, body painting, spray paint and experimental methods of digital processing pays homage to Andy Warhol, Frederico Fellini, Man Ray and edgy fashion photographers such as Helmut Newton and Richard Avedon.
These works of art can only be called “pictures,” not “paintings,” or “drawings,” for he creates them with paint, and drawing, and photography, and digitized electronic synthesis and editing, a “palate” of all the means that the 21st Century offers to the visual artist.
Why not use them all freely interchangeably and synergistically in single works of art? Why not? You really think that given the chance Leonardo DaVinci wouldn’t have computer enhanced some of his paintings? Or that the late Renaissance Dutch hyper-realists wouldn’t have creamed in their velvet jeans to have been able to play with real photography instead of mere camera obscura?
Tobias Batz knows this very well, using paints, dyes, photos, Photoshop, computer synthesis, whatever, to create images of his urban dreamers, by a 21st. Century artist who has been one of them, and for the evolution of this multi-mode palette as the dominant creative mode of 21st. Century art. An art in which the multiplex means of its creation is entirely unbound and beside the true point of all visual art. Sorry Marshall McLuhan, but in the 21st Century, the medium is not the message, but only a delivery system for the message. The message is not the means with which it was created or the material matrix in which it exists. The message is the image itself.