He is a magician of colors, a virtuoso illustrator and storyteller, a fan of
fairytales and fables – or does he simply bring them all together?
From flora and fauna and mythical creatures to rich baroque colors and opulent flower and fruit arrangements, Olaf Hajek celebrates things that you simply have to worship. Confidently following in the footsteps of still life painters while dusting off the morbidity of the baroque idea, he is the perfect illustrator and storyteller. His images are dense and full of possibilities to make innumerable discoveries in the details. His colors are so vivid, an absolutely inexhaustible palette of hues, that you feel as if submerging into a world of scents and sensations.
The northern German’s style is a complex historical puzzle: sometimes you may think to have discovered remnants of seventeenth-century German botanic artist Sybille Merian, other times the rich and almost naïve folk palette of Russian lacquer boxes and Matryoshka dolls.
His collection of images – fabric patterns, Gobelins, magic books, and portfolios as well as the internet – is the source for his visual dance. He never copies but rather draws from the abundance of rituals and cultures so prevalent in our global world and yet so often overlooked and excluded.
From flora and fauna and mythical creatures to rich baroque colors and opulent flower and fruit arrangements, Olaf Hajek celebrates things that you simply have to worship. Confidently following in the footsteps of still life painters while dusting off the morbidity of the baroque idea, he is the perfect illustrator and storyteller. His images are dense and full of possibilities to make innumerable discoveries in the details. His colors are so vivid, an absolutely inexhaustible palette of hues, that you feel as if submerging into a world of scents and sensations.
The northern German’s style is a complex historical puzzle: sometimes you may think to have discovered remnants of seventeenth-century German botanic artist Sybille Merian, other times the rich and almost naïve folk palette of Russian lacquer boxes and Matryoshka dolls.
His collection of images – fabric patterns, Gobelins, magic books, and portfolios as well as the internet – is the source for his visual dance. He never copies but rather draws from the abundance of rituals and cultures so prevalent in our global world and yet so often overlooked and excluded.
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