OpenSea Shared Storefront

Artist name: Teri Varhol

Image: 25.07.2020 11:46

[View in virtual exhibition]( https://newart.city/artwork/32824)

Edition: 1 of 1
 
**Collection**
 
From [ART3.io](https://art3.io/drops/edition365/), Edition365 is a once-in-a-century art & photography collection documenting the historic events between 11 March 2020 and 10 March 2021: a portrait of the year that changed everything. 365 days, captured in 365 artworks, now on sale as unique NFT editions of one  with exclusive unlockable content for collectors.
 
**Unlockable content with purchase of this NFT**
  
High resolution file 
 
[First time buyer only] Single-use right to archive quality physical print (printed & delivered free of charge)

**Caption**

Origin

https://www.terivarhol.com

#141 Edition365 2021; Teri Varhol 02

LADDER FACE

Creeping in the shadows; built from old scrap; held together by shapeshifters.

Staring out, he looks for friends.

He likes you.

--

Digital painting

The Rescue

Dusk sparked havoc.
High beams on.

--

Digital painting

Portrait Automatic

ABOUT - sheet glass, red oil paint, cheap gaffer tape, printed paper, petals, pollen, the artists fingerprints. 18295  26986 pixels - 151 x 213 cm - 59 x 84 inches @ 350dpi. 1/1 NFT + fine-art giclee print on Hahnemhle cotton rag - signed and titled by the artist. ABOUT "THE PORTRAIT AUTOMATIC" SERIES - A collection of deconstructed, gravity-defying portrait sculptures - built from traditional fine-art materials and found objects collected from the streets of London, UK. Each artwork is composed and assembled directly onto my A3 scanner and captured in a single exposure in other-worldly macroscopic detail and incredible resolution. Once captured, the composition is broken down - and so exists only momentarily IRL before traversing eternally into the machine ether Inspired conceptually in part by Metzgers "Machine, Auto-Creative and Auto-Destructive Art" (1960s) as well as Jean Tinguely Mtamatic artworks (1950s). NECESSITY IS THE MOTHER OF INVENTION OR MY HISTORY WITH THE MACHINES - I began working with scanners in 2001 (aged 15), at school there was an Epson in the computer lab and so (working opportunistically so as to remain unseen by the IT teacher; who would no doubt feel my actions as a terrible abuse of his nice, clean scanner :) I began to place dried plants, flowers, leaves and so on directly onto the scanner glass and make artworks I discovered that images made in this way had a distinct depth and look to them - a sense of weightlessness, of floating and the ethereal I had discovered Scanography in my own way. The digital cameras available at the time were crap - 1 megapixel and prohibitively expensive. The scanner, in contrast, was relatively affordable at a fraction of the cost and capable of capturing imagery in far better resolution and detail. I had a job working weekends and holidays doing the washing up in a busy pub near to my mothers house. This income allowed me to save up enough dosh to purchase my own cheap Epson A4 scanner. I could now produce my first significant series of artworks - Pauses in the year 2002 - these works were shared on my website www.karborn.com and gained me some attention on the web in the early 2000s and so it all began I was in. TODAY - The time feels right to reprise these artworks and present them as a coherent collection - the culmination of many years working with my scanner and my first significant body of fine-art masterpieces, perhaps I will build some more heads soon too Thank you. K 

#weworkedwithwildideasusingmachinesinwaystheywerenotdesignedtobeusedandatfirstweworkedfornothingbutnowwecanworkforabetterlifeandmakearttoexistsincerelywelcometotheundergroundeternalkkaarrbboorrnnlondonandonandonandonand

KARBORN 2001 - 2022. 

Red Automatic III 

ABOUT - glass sheet, acrylic paint, wood block, spray paint, printed paper, petals, the artists fingerprints. 14944  21069 pixels - 122 x 167 cm - 48 x 66 inches @ 350dpi. 1/1 NFT + fine-art giclee print on Hahnemhle cotton rag - signed and titled by the artist. ABOUT "THE PORTRAIT AUTOMATIC" SERIES - A collection of deconstructed, gravity-defying portrait sculptures - built from traditional fine-art materials and found objects collected from the streets of London, UK. Each artwork is composed and assembled directly onto my A3 scanner and captured in a single exposure in other-worldly macroscopic detail and incredible resolution. Once captured, the composition is broken down - and so exists only momentarily IRL before traversing eternally into the machine ether Inspired conceptually in part by Metzgers "Machine, Auto-Creative and Auto-Destructive Art" (1960s) as well as Jean Tinguely Mtamatic artworks (1950s). NECESSITY IS THE MOTHER OF INVENTION OR MY HISTORY WITH THE MACHINES - I began working with scanners in 2001 (aged 15), at school there was an Epson in the computer lab and so (working opportunistically so as to remain unseen by the IT teacher; who would no doubt feel my actions as a terrible abuse of his nice, clean scanner :) I began to place dried plants, flowers, leaves and so on directly onto the scanner glass and make artworks I discovered that images made in this way had a distinct depth and look to them - a sense of weightlessness, of floating and the ethereal I had discovered Scanography in my own way. The digital cameras available at the time were crap - 1 megapixel and prohibitively expensive. The scanner, in contrast, was relatively affordable at a fraction of the cost and capable of capturing imagery in far better resolution and detail. I had a job working weekends and holidays doing the washing up in a busy pub near to my mothers house. This income allowed me to save up enough dosh to purchase my own cheap Epson A4 scanner. I could now produce my first significant series of artworks - Pauses in the year 2002 - these works were shared on my website www.karborn.com and gained me some attention on the web in the early 2000s and so it all began I was in. TODAY - The time feels right to reprise these artworks and present them as a coherent collection - the culmination of many years working with my scanner and my first significant body of fine-art masterpieces, perhaps I will build some more heads soon too Thank you. K 

#weworkedwithwildideasusingmachinesinwaystheywerenotdesignedtobeusedandatfirstweworkedfornothingbutnowwecanworkforabetterlifeandmakearttoexistsincerelywelcometotheundergroundeternalkkaarrbboorrnnlondonandonandonandonand

KARBORN 2001 - 2022. 

Theatre of Memory

ABOUT - sheets of glass, light refracted from the projector over glass, gas vapors, printed paper, acrylic paints, iron wire, gold paint, gaffa tape, the artists fingerprints. 19519 x 27519 pixels - 160 X 218 cm - 63 X 86 inches @ 350dpi. 1/1 NFT + fine-art giclee print on Hahnemhle cotton rag - signed and titled by the artist. ABOUT "THE PORTRAIT AUTOMATIC" SERIES - A collection of deconstructed, gravity-defying portrait sculptures - built from traditional fine-art materials and found objects collected from the streets of London, UK. Each artwork is composed and assembled directly onto my A3 scanner and captured in a single exposure in other-worldly macroscopic detail and incredible resolution. Once captured, the composition is broken down - and so exists only momentarily IRL before traversing eternally into the machine ether Inspired conceptually in part by Metzgers "Machine, Auto-Creative and Auto-Destructive Art" (1960s) as well as Jean Tinguely Mtamatic artworks (1950s). NECESSITY IS THE MOTHER OF INVENTION OR MY HISTORY WITH THE MACHINES - I began working with scanners in 2001 (aged 15), at school there was an Epson in the computer lab and so (working opportunistically so as to remain unseen by the IT teacher; who would no doubt feel my actions as a terrible abuse of his nice, clean scanner :) I began to place dried plants, flowers, leaves and so on directly onto the scanner glass and make artworks I discovered that images made in this way had a distinct depth and look to them - a sense of weightlessness, of floating and the ethereal I had discovered Scanography in my own way. The digital cameras available at the time were crap - 1 megapixel and prohibitively expensive. The scanner, in contrast, was relatively affordable at a fraction of the cost and capable of capturing imagery in far better resolution and detail. I had a job working weekends and holidays doing the washing up in a busy pub near to my mothers house. This income allowed me to save up enough dosh to purchase my own cheap Epson A4 scanner. I could now produce my first significant series of artworks - Pauses in the year 2002 - these works were shared on my website www.karborn.com and gained me some attention on the web in the early 2000s and so it all began I was in. TODAY - The time feels right to reprise these artworks and present them as a coherent collection - the culmination of many years working with my scanner and my first significant body of fine-art masterpieces, perhaps I will build some more heads soon too Thank you. K 

#weworkedwithwildideasusingmachinesinwaystheywerenotdesignedtobeusedandatfirstweworkedfornothingbutnowwecanworkforabetterlifeandmakearttoexistsincerelywelcometotheundergroundeternalkkaarrbboorrnnlondonandonandonandonand

KARBORN 2001 - 2022. 

Light-beam Michelangelo 31 

ABOUT - lathe-cut acetate dubplate 10inch record, gold leaf, acrylic medium, paint gak pile, painted ping pong ball, acrylic paints, artists fingerprints. 10279 x 15479 pixels - 85 x 122 cm - 33 x 48 inches @ 350dpi. 1/1 NFT + fine-art giclee print on Hahnemhle cotton rag - signed and titled by the artist. ABOUT "THE PORTRAIT AUTOMATIC" SERIES - A collection of deconstructed, gravity-defying portrait sculptures - built from traditional fine-art materials and found objects collected from the streets of London, UK. Each artwork is composed and assembled directly onto my A3 scanner and captured in a single exposure in other-worldly macroscopic detail and incredible resolution. Once captured, the composition is broken down - and so exists only momentarily IRL before traversing eternally into the machine ether Inspired conceptually in part by Metzgers "Machine, Auto-Creative and Auto-Destructive Art" (1960s) as well as Jean Tinguely Mtamatic artworks (1950s). NECESSITY IS THE MOTHER OF INVENTION OR MY HISTORY WITH THE MACHINES - I began working with scanners in 2001 (aged 15), at school there was an Epson in the computer lab and so (working opportunistically so as to remain unseen by the IT teacher; who would no doubt feel my actions as a terrible abuse of his nice, clean scanner :) I began to place dried plants, flowers, leaves and so on directly onto the scanner glass and make artworks I discovered that images made in this way had a distinct depth and look to them - a sense of weightlessness, of floating and the ethereal I had discovered Scanography in my own way. The digital cameras available at the time were crap - 1 megapixel and prohibitively expensive. The scanner, in contrast, was relatively affordable at a fraction of the cost and capable of capturing imagery in far better resolution and detail. I had a job working weekends and holidays doing the washing up in a busy pub near to my mothers house. This income allowed me to save up enough dosh to purchase my own cheap Epson A4 scanner. I could now produce my first significant series of artworks - Pauses in the year 2002 - these works were shared on my website www.karborn.com and gained me some attention on the web in the early 2000s and so it all began I was in. TODAY - The time feels right to reprise these artworks and present them as a coherent collection - the culmination of many years working with my scanner and my first significant body of fine-art masterpieces, perhaps I will build some more heads soon too Thank you. K 

#weworkedwithwildideasusingmachinesinwaystheywerenotdesignedtobeusedandatfirstweworkedfornothingbutnowwecanworkforabetterlifeandmakearttoexistsincerelywelcometotheundergroundeternalkkaarrbboorrnnlondonandonandonandonand

KARBORN 2001 - 2022. 

Royal Acid

ABOUT - lathe-cut acetate dubplate 10inch record, printed paper, gold leaf, acrylic medium, paint gak pile, painted ping pong ball, acrylic paints, artists fingerprints. 14944  21069 pixels - 122 x 167 cm - 48 x 66 inches @ 350dpi. 1/1 NFT + fine-art giclee print on Hahnemhle cotton rag - signed and titled by the artist. ABOUT "THE PORTRAIT AUTOMATIC" SERIES - A collection of deconstructed, gravity-defying portrait sculptures - built from traditional fine-art materials and found objects collected from the streets of London, UK. Each artwork is composed and assembled directly onto my A3 scanner and captured in a single exposure in other-worldly macroscopic detail and incredible resolution. Once captured, the composition is broken down - and so exists only momentarily IRL before traversing eternally into the machine ether Inspired conceptually in part by Metzgers "Machine, Auto-Creative and Auto-Destructive Art" (1960s) as well as Jean Tinguely Mtamatic artworks (1950s). NECESSITY IS THE MOTHER OF INVENTION OR MY HISTORY WITH THE MACHINES - I began working with scanners in 2001 (aged 15), at school there was an Epson in the computer lab and so (working opportunistically so as to remain unseen by the IT teacher; who would no doubt feel my actions as a terrible abuse of his nice, clean scanner :) I began to place dried plants, flowers, leaves and so on directly onto the scanner glass and make artworks I discovered that images made in this way had a distinct depth and look to them - a sense of weightlessness, of floating and the ethereal I had discovered Scanography in my own way. The digital cameras available at the time were crap - 1 megapixel and prohibitively expensive. The scanner, in contrast, was relatively affordable at a fraction of the cost and capable of capturing imagery in far better resolution and detail. I had a job working weekends and holidays doing the washing up in a busy pub near to my mothers house. This income allowed me to save up enough dosh to purchase my own cheap Epson A4 scanner. I could now produce my first significant series of artworks - Pauses in the year 2002 - these works were shared on my website www.karborn.com and gained me some attention on the web in the early 2000s and so it all began I was in. TODAY - The time feels right to reprise these artworks and present them as a coherent collection - the culmination of many years working with my scanner and my first significant body of fine-art masterpieces, perhaps I will build some more heads soon too Thank you. K 

#weworkedwithwildideasusingmachinesinwaystheywerenotdesignedtobeusedandatfirstweworkedfornothingbutnowwecanworkforabetterlifeandmakearttoexistsincerelywelcometotheundergroundeternalkkaarrbboorrnnlondonandonandonandonand

KARBORN 2001 - 2022. 

ABOUT - wood panel, sheet glass, machine punched iron, bird feather, gold paint, acrylic paint, brass strip, printed paper, the artists fingerprints. 14447 x 20373 pixels - 119 x 162 cm - 47 x 64 inches @ 350dpi. 1/1 NFT + fine-art giclee print on Hahnemhle cotton rag - signed and titled by the artist. ABOUT "THE PORTRAIT AUTOMATIC" SERIES - A collection of deconstructed, gravity-defying portrait sculptures - built from traditional fine-art materials and found objects collected from the streets of London, UK. Each artwork is composed and assembled directly onto my A3 scanner and captured in a single exposure in other-worldly macroscopic detail and incredible resolution. Once captured, the composition is broken down - and so exists only momentarily IRL before traversing eternally into the machine ether Inspired conceptually in part by Metzgers "Machine, Auto-Creative and Auto-Destructive Art" (1960s) as well as Jean Tinguely Mtamatic artworks (1950s). NECESSITY IS THE MOTHER OF INVENTION OR MY HISTORY WITH THE MACHINES - I began working with scanners in 2001 (aged 15), at school there was an Epson in the computer lab and so (working opportunistically so as to remain unseen by the IT teacher; who would no doubt feel my actions as a terrible abuse of his nice, clean scanner :) I began to place dried plants, flowers, leaves and so on directly onto the scanner glass and make artworks I discovered that images made in this way had a distinct depth and look to them - a sense of weightlessness, of floating and the ethereal I had discovered Scanography in my own way. The digital cameras available at the time were crap - 1 megapixel and prohibitively expensive. The scanner, in contrast, was relatively affordable at a fraction of the cost and capable of capturing imagery in far better resolution and detail. I had a job working weekends and holidays doing the washing up in a busy pub near to my mothers house. This income allowed me to save up enough dosh to purchase my own cheap Epson A4 scanner. I could now produce my first significant series of artworks - Pauses in the year 2002 - these works were shared on my website www.karborn.com and gained me some attention on the web in the early 2000s and so it all began I was in. TODAY - The time feels right to reprise these artworks and present them as a coherent collection - the culmination of many years working with my scanner and my first significant body of fine-art masterpieces, perhaps I will build some more heads soon too Thank you. K 

#weworkedwithwildideasusingmachinesinwaystheywerenotdesignedtobeusedandatfirstweworkedfornothingbutnowwecanworkforabetterlifeandmakearttoexistsincerelywelcometotheundergroundeternalkkaarrbboorrnnlondonandonandonandonand

KARBORN 2001 - 2022. 

Blue Metalhead

ABOUT - Sheet glass, the wing of an owl (found in the woods), dried grass, printed paper, dried leaves,  glass discs, butterfly wings, oil paint, acrylic paint, gold-leaf, the artists fingerprints. 19519 x 27519 pixels - 138 x 187 cm - 54 x 74 inches @ 350dpi. 1/1 NFT + fine-art giclee print on Hahnemhle cotton rag - signed and titled by the artist. ABOUT "THE PORTRAIT AUTOMATIC" SERIES - A collection of deconstructed, gravity-defying portrait sculptures - built from traditional fine-art materials and found objects collected from the streets of London, UK. Each artwork is composed and assembled directly onto my A3 scanner and captured in a single exposure in other-worldly macroscopic detail and incredible resolution. Once captured, the composition is broken down - and so exists only momentarily IRL before traversing eternally into the machine ether Inspired conceptually in part by Metzgers "Machine, Auto-Creative and Auto-Destructive Art" (1960s) as well as Jean Tinguely Mtamatic artworks (1950s). NECESSITY IS THE MOTHER OF INVENTION OR MY HISTORY WITH THE MACHINES - I began working with scanners in 2001 (aged 15), at school there was an Epson in the computer lab and so (working opportunistically so as to remain unseen by the IT teacher; who would no doubt feel my actions as a terrible abuse of his nice, clean scanner :) I began to place dried plants, flowers, leaves and so on directly onto the scanner glass and make artworks in this manner I found images made in this way had a distinct depth and look to them - a sense of weightlessness, of floating and the ethereal I had discovered Scanography in my own way. The digital cameras available at the time were crap - 1 megapixel and prohibitively expensive. The scanner, in contrast, was relatively affordable at a fraction of the cost and capable of capturing imagery in far better resolution and detail. I had a job working weekends and holidays doing the washing up in a busy pub near to my mothers house. This income allowed me to save up enough dosh to purchase my own cheap Epson A4 scanner. I could now produce my first significant series of artworks - Pauses in the year 2002 - these works were shared on my website www.karborn.com and gained me some attention on the web in the early 2000s and so it all began I was in. TODAY - The time feels right to reprise these artworks and present them as a coherent collection - the culmination of many years working with my scanner and my first significant body of fine-art masterpieces, perhaps I will build some more heads soon too Thank you. K 

#weworkedwithwildideasusingmachinesinwaystheywerenotdesignedtobeusedandatfirstweworkedfornothingbutnowwecanworkforabetterlifeandmakearttoexistsincerelywelcometotheundergroundeternalkkaarrbboorrnnlondonandonandonandonand

KARBORN 2001 - 2022. 

Untrained, Instinctive and Feral

ABOUT - Sheet glass, the wing of an owl (found in the woods), dried grass, printed paper, dried leaves,  glass discs, butterfly wings, oil paint, acrylic paint, gold-leaf, the artists fingerprints. 19519 x 27519 pixels - 138 x 187 cm - 54 x 74 inches @ 350dpi. Includes fine-art giclee print on Hahnemhle cotton rag - signed and titled by the artist. ABOUT "THE PORTRAIT AUTOMATIC" SERIES - A collection of deconstructed, gravity-defying portrait sculptures - built from traditional fine-art materials and found objects collected from the streets of London, UK. Each artwork is composed and assembled directly onto my A3 scanner and captured in a single exposure in other-worldly macroscopic detail and incredible resolution. Once captured, the composition is broken down - and so exists only momentarily IRL before traversing eternally into the machine ether Inspired conceptually in part by Metzgers "Machine, Auto-Creative and Auto-Destructive Art" (1960s) as well as Jean Tinguely Mtamatic artworks (1950s). NECESSITY IS THE MOTHER OF INVENTION OR MY HISTORY WITH THE MACHINES - I began working with scanners in 2001 (aged 15), at school there was an Epson in the computer lab and so (working opportunistically so as to remain unseen by the IT teacher; who would no doubt feel my actions as a terrible abuse of his nice, clean scanner :) I began to place dried plants, flowers, leaves and so on directly onto the scanner glass and make artworks in this manner I found images made in this way had a distinct depth and look to them - a sense of weightlessness, of floating and the ethereal I had discovered Scanography in my own way, as I later discovered it was calledThe digital cameras available at the time were crap - 1 megapixel and prohibitively expensive. The scanner, in contrast, was relatively affordable at a fraction of the cost and capable of capturing imagery in far better resolution and detail. I had a job working weekends and holidays doing the washing up in a busy pub near to my mothers house. This income allowed me to save up enough dosh to purchase my own cheap Epson A4 scanner. I could now produce my first significant series of artworks - Pauses in the year 2002 - these works were shared on my website www.karborn.com and gained me some attention on the web in the early 2000s and so it all began I was in. TODAY - The time feels right to reprise these artworks and present them as a coherent collection - the culmination of many years working with my scanner and my first significant body of fine-art masterpieces, perhaps I will build some more heads soon too Thank you. K 

#weworkedwithwildideasusingmachinesinwaystheywerenotdesignedtobeusedandatfirstweworkedfornothingbutnowwecanworkforabetterlifeandmakearttoexistsincerelywelcometotheundergroundeternalkkaarrbboorrnnlondonandonandonandonand

KARBORN 2001 - 2022. 

ABOUT - sheets of glass, light refracted from the projector over glass, gas vapours, printed paper, acrylic paints, iron wire, gold paint, gaffa tape, the artists fingerprints. The artwork is captured in two, single exposures as a stop-motion animation. high res files will also be supplied - 19519 x 27519 pixels - 160 X 218 cm - 63 X 86 inches @ 350dpi. 1/1 NFT + fine-art giclee print on Hahnemhle cotton rag - signed and titled by the artist. ABOUT "PORTRAIT AUTOMATIC" SERIES - A collection of deconstructed portrait sculptures - built from traditional fine-art materials and found objects collected from the streets of London, UK. Each artwork is composed and assembled directly onto my A3 scanner and captured in a single exposure in other-worldly macroscopic detail and remarkable resolution. Once captured the composition is broken down - and so exists only momentarily IRL before traversing eternally into the machine ether Inspired conceptually in part by Metzgers "Machine, Auto-Creative and Auto-Destructive Art" (1960s) as well as Jean Tinguely Mtamatic artworks (1950s). NECESSITY IS THE MOTHER OF INVENTION - OR - MY HISTORY WITH THE MACHINES ... I began working with scanners in 2001 (aged 15), at school there was an Epson in the computer lab and so (working opportunistically so as to remain unseen by the IT teacher; who would no doubt feel my actions as a terrible abuse of his nice, clean scanner :) I began to place dried plants, flowers, leaves and so on directly onto the scanner glass and make artworks I discovered that images made in this way had a distinct depth and look to them - a sense of weightlessness, of floating and the ethereal I had discovered Scanography in my own way... The digital cameras available at the time were crap - 1 megapixel and prohibitively expensive. The scanner, in contrast, was relatively affordable at a fraction of the cost and capable of capturing imagery in far better resolution and detail (over 20,000 x 30,000 pixels!). I had a job working weekends and holidays doing the washing up in a busy pub near to my mothers house. This income allowed me to save up enough dosh to purchase my own cheap Epson A4 scanner. I could now produce my first significant series of artworks - Pauses in the year 2002 - these works were shared on my website www.karborn.com and earned me some standing in the early 2000s, I was on my way... All the heads were built between 2013 - 2018 - The time now feels right to reprise these pieces and present them as a coherent collection - the culmination of many years working with my scanner and my first significant body of fine-artworks. hashtagweworkedwithwildideasusingmachinesinwaystheywerenotdesignedtobeusedandatfirstweworkedfornothingbutnowwecanworkforabetterlifeandmakearttoexistsincerelywelcometotheundergroundeternalkkaarrbboorrnnlondonandonandonandonand KARBORN 2001 - 2022

Light-Beam Michelangelo 31

ABOUT - sheet glass, autumnal virginia creeper petals, hydrangea petals, printed paper, dried flowers, gold leaf, the artists fingerprints. 12809 x 18059 pixels - 103 X 141 cm - 40 X 56 inches @ 350dpi. 1/1 NFT + fine-art giclee print on Hahnemhle cotton rag - signed and titled by the artist. ABOUT "THE PORTRAIT AUTOMATIC" SERIES - A collection of deconstructed, gravity-defying portrait sculptures - built from traditional fine-art materials and found objects collected from the streets of London, UK. Each artwork is composed and assembled directly onto my A3 scanner and captured in a single exposure in other-worldly macroscopic detail and incredible resolution. Once captured, the composition is broken down - and so exists only momentarily IRL before traversing eternally into the machine ether Inspired conceptually in part by Metzgers "Machine, Auto-Creative and Auto-Destructive Art" (1960s) as well as Jean Tinguely Mtamatic artworks (1950s). NECESSITY IS THE MOTHER OF INVENTION OR MY HISTORY WITH THE MACHINES - I began working with scanners in 2001 (aged 15), at school there was an Epson in the computer lab and so (working opportunistically so as to remain unseen by the IT teacher; who would no doubt feel my actions as a terrible abuse of his nice, clean scanner :) I began to place dried plants, flowers, leaves and so on directly onto the scanner glass and make artworks I discovered that images made in this way had a distinct depth and look to them - a sense of weightlessness, of floating and the ethereal I had discovered Scanography in my own way. The digital cameras available at the time were crap - 1 megapixel and prohibitively expensive. The scanner, in contrast, was relatively affordable at a fraction of the cost and capable of capturing imagery in far better resolution and detail. I had a job working weekends and holidays doing the washing up in a busy pub near to my mothers house. This income allowed me to save up enough dosh to purchase my own cheap Epson A4 scanner. I could now produce my first significant series of artworks - Pauses in the year 2002 - these works were shared on my website www.karborn.com and gained me some attention on the web in the early 2000s and so it all began I was in. TODAY - The time feels right to reprise these artworks and present them as a coherent collection - the culmination of many years working with my scanner and my first significant body of fine-art masterpieces, perhaps I will build some more heads soon too Thank you. K 

#weworkedwithwildideasusingmachinesinwaystheywerenotdesignedtobeusedandatfirstweworkedfornothingbutnowwecanworkforabetterlifeandmakearttoexistsincerelywelcometotheundergroundeternalkkaarrbboorrnnlondonandonandonandonand

KARBORN 2001 - 2022. 

Love + Factory

Sheet glass, the wing of an owl (found in the woods), dried grass, printed paper, dried leaves,  glass discs, butterfly wings, oil paint, acrylic paint, gold-leaf, the artists fingerprints. 2015. 

19519 x 27519 pixels
138 x 187 cm / 54 x 74 inches @ 350dpi

1/1 NFT + giclee fine-art print on Hahnemhle cotton rag. Signed and titled by the artist. Ships worldwide. 

The full resolution 962.8 mb uncompressed artwork .tif is supplied also. 

About:
Portrait Automatic - A collection deconstructed, gravity-defying portrait sculptures - built from traditional fine-art materials and found objects collected from the streets of London, UK.

Each artwork is composed and assembled directly onto my A3 scanner and captured in a single exposure in other-worldly macroscopic detail and incredible resolution.

Once captured, the composition is broken down - and so exists only momentarily IRL before traversing eternally into the machine ether Inspired conceptually in part by Metzgers "Machine, Auto-Creative and Auto-Destructive Art" (1960s) as well as Jean Tinguely Mtamatic artworks (1950s).

*

Necessity is the mother of invention - my history with the machines:
I began working with scanners in 2001 (aged 15), at school there was an Epson in the computer lab and so (working opportunistically so as to remain unseen by the IT teacher; who would no doubt feel my actions as a terrible abuse of his nice, clean scanner :) I began to place dried plants, flowers, leaves and so on directly onto the scanner glass and make artworks in this manner I found images made in this way had a distinct depth and look to them - a sense of weightlessness, of floating and the ethereal I had discovered Scanography in my own way, as I later discovered it was called

The digital cameras available at the time were crap - 1 megapixel and prohibitively expensive. The scanner, in contrast, was relatively affordable at a fraction of the cost and capable of capturing imagery in far better resolution and detail. I had a job working weekends and holidays doing the washing up in a busy pub near to my mothers house. This income allowed me to save up enough dosh to purchase my own cheap Epson A4 scanner. I could now produce my first significant series of artworks - Pauses in the year 2002 - these works were shared on my website www.karborn.com and gained me some attention on the web in the early 2000s and so it all began I was in. 

The time feels right to reprise these artworks and present them as a coherent collection - the culmination of many years working with my scanner and my first significant body of fine-art masterpieces, perhaps I will build some more heads soon too Thank you. K 

#weworkedwithwildideasusingmachinesinwaystheywerenotdesignedtobeusedandatfirstweworkedfornothingbutnowwecanworkforabetterlifeandmakearttoexistsincerelywelcometotheundergroundeternalkkaarrbboorrnnlondonandonandonandonand

KARBORN 2001 - 2022. 

Europe Ozymandias

Original pencil drawing (89 x 70 cm // 35 x 27.5 inches)  
+ 6051 x 7609 .PNG

Artwork drawn in pencil January 2022 on heavyweight handmade Somerset cotton rag paper. signed and titled. 1/1.

The drawing will be flat-packed and shipped internationally in a handmade wooden freight case directly to the buyer.

*

I met a traveller from an antique land,  
Who saidTwo vast and trunkless legs of stone stand in the desert. . . . Near them, on the sand, Half sunk a shattered visage lies, whose frown, and wrinkled lip, and sneer of cold command, tell that its sculptor well those passions read which yet survive, stamped on these lifeless things, The hand that mocked them, and the heart that fed; and on the pedestal, these words appear: my name is Ozymandias, King of Kings; Look on my Works, ye Mighty, and despair! Nothing beside remains. Round the decay of that colossal Wreck, boundless and bare the lone and level sands stretch far away.  
- BY PERCY BYSSHE SHELLEY (1818)

*

Music listened to whilst drawing Ozymandias: 
Hiroshi Yoshimura ( ) - Soundscape 1: Surround (1986)  
Boards of Canada - Music has the right to children (1998)  
Brian Eno - Music for airports (1978)  
Burial - Antidawn (2022)

Fragmented Coin

THE FRAGMENTED COIN FROM THE FRAGMENTED COLLECTION