The plane I had made for Lufthansa already contained 2,000 small images of the same plane. But I wanted to get to a scale that would be comparable to what felt like the beginning of a whole different paradigm. It was the 1980s, when air transportation had truly become global: airports were becoming cities and, while the whole industry was much smaller than today, it suddenly became very clear that the airplane would change the whole world, like the telephone or television had, or the iPhone would.
Like the factories in the 1960s, the airplane had become a source of horror and beauty, a super-horror and a super-beauty. So I made this airplane that is composed of more than one million little airplanes. Each airplane is different from the others; it was all made by hand, by distorting each piece of latex rubber and photographing it, printing it, and applying it as a collage. Your mind can read and understand differences, and realizes that this airplane is made of all these different parts, each unique.
I believe in total individualism, even in the largest mass. Even in billions, everything is singular and unique. Every cell, every atom, they are singular. I think that’s the richness of art, to define this singularity in the mass.Thomas Bayrle, an interview with Artspace
Thomas Bayrle is a German visual artist who grew up post-World War amid a world
His work weaves together all the economic and societal contradictions of the time, scenes of abundance minimized into pixels.
Bayrle is also one of the first artists to embrace computers as tools for making media.
Read more about Thomas Bayrle here.
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