Tejiaji

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Tejiaji - Enter the gallery

After his college studies on litterature and arts, Tejiaji worked first for editors. Then, fate made him work in different worlds : journalism, commercials, then communication. In 2001, he began using his professionnal softawares in different and odd ways, creating his first numerical works of art. As years passed, he developped a set of numerical painting technics of his own.
Tejiaji's works are eclusively "ex nihilo" creations, even those that could, at first sight, look like modified photos. He explains :

 

"Do not try to find out where is the photo who was the origin of a painting. There is none. Or too many, if you consider things on another point of view. When I find a picture that I feel inspirative,  I first have to digest it.  I take it,  torture it,  stretch it,  tear it apart, extracting exactly what I liked : an eye, a mouth, a breast, a hand, sometimes just a color or a blur. Often, what I get has nothing to do with the original picture : it's rather some kind of monster. I keep my little monster and pet him. (...) When I create a painting, I visit my monsters and select some of them. Then, I make them breed.
At the end of the work, the result is not a sticking, rather some kind of melting of my monsters.  I rarely use a monster for what he was designed for at first : one who was a vulva can become a mouth or an eye; a hand can be a rock or a wall, a leg can become a face...

(...) 

So, at the question "are those things photos ?" the answer is : yes, because, somewhere in the deep origins of my creations, there are some photographic materials; and no, because those materials are part of my palette, just as talc, chalk, resin and pigments are part of standard painting colors." 

 
© All of the images on this website are copyrighted original artworks by their author and are protected by international copyright law. No materials in this gallery may be reproduced, copied, downloaded, or used in any form without written permission of the contemporary artist Tejiaji.
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