Peter Nitsch NFTs
I like the portraiture, I like the mix with fashion photography, I like the use of light he does…the images connect to one another. They all create, and this is something that is difficult, variations – they talk to each other, they complement each other.
ALEJANDRO CARTAGENA, Artist
In the SUMO series, lens-based artist Peter Nitsch delves into the intersection of photography, design, art and artificial surrealist interpretation and develops the work from a lens-based artist’s point of view. In these depictions we can see how Nitsch deliberately works with mostly rounded and organic forms that may be a reference to Cubism. Nitsch has replaced the hard line geometry for softer edged compositions.
Collection: Developer Tray
Number of videos: 9
Developer Tray is composed of a series of portrait photographs of Marlene, a young teenager I met occasionally to capture some photographs the way she wanted to see herself. These video portraits, swaying gently through water, look almost as though they are dancing and emerging from the darkness. The shifting forms of the faces interrupt the black backdrop, and become the focal point of this video painted developer trays.
The series encourages the viewer to slow down and cultivate a meditative practice of close looking to the passing of time, to the subtle energy that flows all around the developer tray – remembering the simplicity of form and motion.
Collection: Tango in the Big Mango
Number of plates: 30
Address: 0xaA2B04ccf1056F8172c072F67057fC26cd3C41F2 (osc)
“Many of the characters portrayed by Nitsch were interrupted in their daily chores and they seem to be looking at themselves in a mirror. And mankind needs a mirror! The mirror, as a symbol, is a proverbial representation of consciousness, imagination and thought, whose character has temporal and existential variability…In Tango in the Big Mango the portraits are an important part of the scaffold constructed for this photo book. The approach given by Nitsch, through the interconnections established with his senses, means that we are actually our mirror, which represents us in our condition of continous expectancy, thus remaining bound to crude materiality.” – JM Ramirez-Suassi
Collection: CVRD by Karin Apollonia Müller and Peter Nitsch
Number of plates: 66
Address: 0x091a82F897C3ba5242f87777019486AF33889814 (osc)
Karin Apollonia Müller and Peter Nitsch, both German lens-based artists, have been photographing covered cars over the last couple of years. Müller in Los Angeles, California, Nitsch in Bangkok, Thailand.
Müller uses an ethereal palette of muted tones during daylight to sunset whereas Nitsch makes use of the nightly silence of colored spotlights and vibrant fluorescent street lights. Müller consequently horizontal, Nitsch consequently vertical.
Collection: The Sai Yong Hong Opera Troupe
Number of plates: 10
A behind-the-scenes look into ‘Chinese Opera in Thailand.’ A faint buzzing sound can be heard in the air. It smells like burnt tires, cooked bananas, and grilled squid – a porridge of diverse sounds and smells swirls around the body in the humid tropical air as entering Soi Charoen Krung 72/2 at 5 p.m.
A tiny concrete path penetrates deep into the backyards’ roofed labyrinth. A stage rises up into the gently lowering twilight sky at the end of the rabbit’s den. The performance starts at 8:00 p.m., but the story of the people behind the characters was told before the actual performance.