Fakewhale in Dialogue with Christian Holze

Cristian Holze is a contemporary artist who merges technology and art, with a specific focus on sculpture and its relationship with digital imagery. After starting as a technical draftsman, he discovered the potential of digital creation, initiating a dialogue between the tangible and the virtual. We discuss this with him in this interview. Using 3D simulations and artificial intelligence, Holze creates immersive works that transcend and redefine traditional perceptions of sculpture and painting, opening up a new dialogue.

What was your first significant experience that led you to take an interest in technology and art?

After graduating from secondary school, I spent four years working as a technical draftsman. I devoted a significant amount of time to using 3D software during this period. Later, when I began my art studies, I realized that the skills I had acquired in this field did not play a significant role in my artistic work. However, I did have an epiphany when I created a digital sketch for a planned sculpture for test purposes. I posted this digital work on Tumblr. The image was presumed to be a photograph of a tangible sculpture. It subsequently gained significant online traction and helped me make some interesting contacts. This event made me realize how we perceive and evaluate art in a digital world. It was the starting point for a dialogue that is still firmly anchored in my work today.

Which artists have most inspired you throughout your career?

In recent times, the works of the Pictures Generation and the Archaic period of Greek antiquity have exerted a particular influence on my work.

How do you interpret the role of art in the context of current technological innovations?

In the field of art, the advent of new technical achievements is typically preceded by an initial phase of exploration, during which they serve primarily as a means of thematic content. Gradually, however, they evolve into a tool for artistic production. This can be observed in various fields, including photography, the internet, and more recently, in the field of artificial intelligence.

How do you approach the concept of originality and copying in your works, considering the use of historical images and models?

Everything is a copy of something. The question of originality plays a relatively minor role in this context, which is precisely why it is so interesting for me. A work of art, especially a good one, is always a group effort and a product of what has gone before.