'Accident & Intention'
Frederik Erfurt
Accident & Intention explores the unstable relationship between control and chance in the making of images. Bringing together photography, painting and glass, Frederik Erfurt works with expired photographic film, archival pigment prints, oil and acrylic to examine how images are transformed through processes of layering, interruption and material intervention.
Photographic fragments become sites of further alteration. Paint, pigment and glass disrupt the image’s original coherence, shifting it between recognition and abstraction, visibility and concealment. Traces of earlier states remain embedded in the surface, allowing each work to register both the decisions that shape it and the contingencies that resist them.
Rather than treating accident and intention as opposing forces, the exhibition considers their interdependence. The image emerges through a continuous negotiation between deliberate gesture and material unpredictability, between what is imposed upon a surface and what develops beyond the artist’s control.
At stake is not simply how an image is made, but how it comes to hold meaning. Moving between material presence and psychological association, the works remain suspended between what is seen and what is inferred — images in which perception is never entirely separate from projection.
Accident & Intention
An exhibition by Frederik Erfurt
artwork entries
For exhibition enquiries, collaborations and artwork information, please contact: contact@frederikerfurt.com
Evaporated Inferno
no. 8888 - 2024 © (80 x 120 cm. / 31.5 x 47.2 in.)
Evaporated Inferno holds intensity without spectacle. Colour retains the trace of heat without depicting an eruption. What remains is not the event itself, but its residue: a suspended charge held within the image.
Medium:
Oil and acrylic on 4 mm crystal-clear diamond glass, with Hahnemühle Fine Art Giclée archival paper and expired 35 mm photographic film printed with 10-colour pigment inks, mounted behind glass.
Original artwork, accompanied by a certificate of authenticity.
Shrinking Doze
no. 8738 - 2024 © (80 x 120 cm. / 31.5 x 47.2 in.)
In Shrinking Doze, the image remains present while its authority begins to recede. Its structure holds, but certainty diminishes. The work occupies a threshold between persistence and withdrawal, where the image is neither lost nor fully secured.
Medium:
Oil and acrylic on 4 mm crystal-clear diamond glass, with Hahnemühle Fine Art Giclée archival paper and expired 35 mm photographic film printed with 10-colour pigment inks, mounted behind glass.
Original artwork, accompanied by a certificate of authenticity.
Conceived Urgency
no. 8338 - 2024 © (80 x 120 cm. / 31.5 x 47.2 in.)
In Conceived Urgency, pressure emerges through compression rather than speed. Layers crowd the image, reducing the space between forms. Colour and structure compete for attention, producing a sense of insistence without a single point of resolution.
Medium:
Oil and acrylic on 4 mm crystal-clear diamond glass, with Hahnemühle Fine Art Giclée archival paper and expired 35 mm photographic film printed with 10-colour pigment inks, mounted behind glass.
Original artwork, accompanied by a certificate of authenticity.
Threshold of Regeneration
no. 8118 - 2024 © (80 x 120 cm. / 31.5 x 47.2 in.)
Threshold of Regeneration develops through repetition, revision and return. New layers accumulate without fully concealing those beneath them. The resulting surface holds its own history, allowing damage, error and adjustment to remain active within the image.
Medium:
Oil and acrylic on 4 mm crystal-clear diamond glass, with Hahnemühle Fine Art Giclée archival paper and expired 35 mm photographic film printed with 10-colour pigment inks, mounted behind glass.
Original artwork, accompanied by a certificate of authenticity.
Velvet Violations
no. 8558 - 2024 © (80 x 120 cm. / 31.5 x 47.2 in.)
In Velvet Violations, apparent order is unsettled from within. Soft transitions interrupt the coherence of the surface, allowing forms to drift between stability and disruption. The image remains legible, but its internal relationships resist resolution.
Medium:
Oil and acrylic on 4 mm crystal-clear diamond glass, with Hahnemühle Fine Art Giclée archival paper and expired 35 mm photographic film printed with 10-colour pigment inks, mounted behind glass.
Original artwork, accompanied by a certificate of authenticity.
Resources in Reverse
no. 8097 - 2024 © (80 x 120 cm. / 31.5 x 47.2 in.)
Resources in Reverse unsettles the assumed sequence between origin and outcome. Reactions appear to precede their causes, while the image resists a linear reading of its own formation. What emerges is a structure in which meaning is assembled retrospectively rather than delivered in a fixed order.
Medium:
Oil and acrylic on 4 mm crystal-clear diamond glass, with Hahnemühle Fine Art Giclée archival paper and expired 35 mm photographic film printed with 10-colour pigment inks, mounted behind glass.
Original artwork, accompanied by a certificate of authenticity.
Altered Pendulum
no. 8778 - 2024 © (80 x 120 cm. / 31.5 x 47.2 in.)
In Altered Pendulum, repetition produces variation rather than exact return. Forms recur with subtle differences, as though each iteration carries a memory of the last while departing from it. The image holds continuity and deviation in the same field.
Medium:
Oil and acrylic on 4 mm crystal-clear diamond glass, with Hahnemühle Fine Art Giclée archival paper and expired 35 mm photographic film printed with 10-colour pigment inks, mounted behind glass.
Original artwork, accompanied by a certificate of authenticity.
Fractures
no. 8868 - 2024 © (60 x 90 cm./ 24 x 35 in.)
In Fractures, disruption takes the form of a subtle shift rather than a complete break. Layers no longer align seamlessly, creating tension across the surface. The image holds together while revealing the instability of its own construction.
Medium:
Oil and acrylic on 4 mm crystal-clear diamond glass, with Hahnemühle Fine Art Giclée archival paper and expired 35 mm photographic film printed with 10-colour pigment inks, mounted behind glass.
Original artwork, accompanied by a certificate of authenticity.
Encapsulated Claims
no. 8968 - 2024 © (60 x 90 cm. / 24 x 35 in.)
In Encapsulated Claims, instability is held within defined limits. The image contains its own pressure, keeping tension present without allowing it to fully disperse. Containment becomes both a visual condition and a structural principle.
Medium:
Oil and acrylic on 4 mm crystal-clear diamond glass, with Hahnemühle Fine Art Giclée archival paper and expired 35 mm photographic film printed with 10-colour pigment inks, mounted behind glass.
Original artwork, accompanied by a certificate of authenticity.
Arise
no. 8698 - 2024 © (60 x 90 cm. / 23.6 x 35.4 in.)
Arise suggests emergence without a definitive point of origin. Colour and layered forms appear to surface from within the image, occupying the space between obscurity and visibility. Rather than presenting a resolved appearance, the work holds the moment in which something begins to take form.
Medium:
Oil and acrylic on 4 mm crystal-clear diamond glass, with Hahnemühle Fine Art Giclée archival paper and expired 35 mm photographic film printed with 10-colour pigment inks, mounted behind glass.
Original artwork accompanied by a certificate of authenticity.
Bleed Godspeed
no. 8838 - 2024 © (60 x 90 cm. / 24 × 35 in. )
Bleed Godspeed approaches movement through its traces rather than its direction. Colour carries the residue of a passage, suggesting momentum without fixing it to a single trajectory. The image becomes a record of movement after the movement itself has passed.
Medium:
Oil and acrylic on 4 mm crystal-clear diamond glass, with Hahnemühle Fine Art Giclée archival paper and expired 35 mm photographic film printed with 10-colour pigment inks, mounted behind glass.
Original artwork, accompanied by a certificate of authenticity.
Prelude
no. 8839 - 2024 © (60 x 90 cm. / 24 × 35 in. )
In Prelude, the image is approached as a condition of anticipation. Forms and colours establish a sense of something about to emerge, without resolving into a definitive event. The work holds the interval before recognition, where possibility remains open and meaning has yet to settle.
Medium:
Oil and acrylic on 4 mm crystal-clear diamond glass, with Hahnemühle Fine Art Giclée archival paper and expired 35 mm photographic film printed with 10-colour pigment inks, mounted behind glass.
Original artwork, accompanied by a certificate of authenticity.
Accident & Intention
An exhibition by Frederik Erfurt.
For exhibition enquiries, collaborations and artwork information, please contact: contact@frederikerfurt.com