Trois chevaux d'or au galop (2023) Digital Arts by Steve Awhtz

Digital Arts, 37.8x27.2 in
$4,131.01
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Mounted on Wood Stretcher frame
This artwork appears in 3 collections
Œuvre issu d'une série sur le cheval. Ce travail met en oeuvre l'ensemble des techniques numériques, avec entre autres une intelligence artificielle concoctée par l'artiste pour cette série. Elle est fourni sur un cadre 50F avec une bordure encadrante dorée. Un certificat NFT Ipocamp authentifie l'œuvre. Le style de l'œuvre est infraréaliste. About [...]
Œuvre issu d'une série sur le cheval.
Ce travail met en oeuvre l'ensemble des techniques numériques, avec entre autres une intelligence artificielle concoctée par l'artiste pour cette série.

Elle est fourni sur un cadre 50F avec une bordure encadrante dorée.
Un certificat NFT Ipocamp authentifie l'œuvre.

Le style de l'œuvre est infraréaliste.

Related themes

ChevalÉquestreGalopIaNft

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Steve Awhtz defines himself as an “infrarealist painter”, an appellation that reflects both his love of color and his desire to push back the boundaries of the traditional pictorial gesture. Born in France, he [...]

Steve Awhtz defines himself as an “infrarealist painter”, an appellation that reflects both his love of color and his desire to push back the boundaries of the traditional pictorial gesture. Born in France, he is deeply rooted in Parisian artistic culture, while retaining the pioneering spirit of the avant-gardes of the 20ᵉ century. From an early age, Steve Awhtz displayed an overwhelming passion for contemporary art, resonating with the abstraction of his rigorous scientific training. With a doctorate in Cognitive Sciences applied to knowledge management and graphic reasoning from the Université Nice Sophia Antipolis, he combined his analytical skills with his artistic sensibility to innovate in the visual field.His career path is distinguished by a unique fusion of two seemingly opposing worlds: scientific research and artistic creation. Inevitably, this dual allegiance translates into an ongoing quest for answers to the existential and aesthetic questions inherent in art. His approach is part of a movement he refers to as “infra-realist”, reflecting a search for the primacy of color - seen as a vector of joy, its true ontology - over form. For him, color is not only an aesthetic dimension, but also a language capable of expressing the very essence of happiness and the eternity of life.

A particularly admirable strength of Steve Awhtz's presentation lies in his ability to reconcile the heritage of the artistic avant-garde with modern technological innovations. In a world where digitalization seems intent on standardizing modes of expression, he manages to build bridges between digital experimentation and humanism. As a result, his works leave no room for the cynicism or coldness that can inspire some purely technical productions. On the contrary, his vivid color palette and the insistence on “happiness” reaffirmed in each of his creations establish a warm, resolutely optimistic atmosphere, always inclined to celebrate the beauty and uniqueness of the human experience.
Steve Awhtz's presentation thus offers a rich reflection on how art can evolve by integrating the technologies of the future without denying its historical roots. It raises essential questions about the nature of creativity and the future of forms of artistic expression. Is it possible, indeed, to guarantee that the machine, allied to the human, will capture the full complexity of emotion? Through his experiments, Steve Awhtz seems to answer in the affirmative, proposing works that reflect not only technique, but also the spontaneity and joie de vivre that characterize human existence.

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