DEA†H
DEA†H

WELCOME TO

DEA†H By Keigh†

Works from 2010 to 2023.

Content: mixed media such as interactive, photography, videography, animation, vector drawing and traditionnal drawings.

© 2024-2007 Keight Art. All rights reserved. keight@keight.art

GRAVES

An allegory archetypic for the end, for destiny, for the inevitable fatality of life. No matter if we're famous of not.

2023. Vector drawing. Print in piezography.

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COFFINS

This serie evokes the human finality of spirit and body through the big box that is the coffin. Three steps that go in an ending way : open of the coffin, the coffin is being closed, the closed coffin and the experience is finished.

2023. Vector drawing. Print in piezography.

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FACE OF DEATH

A disturbing chiaroscuro from which faces emerge, at once ghostly and melting into death, and conversely flirting with life... a reminder that death is in, and awaits, each of us.

2010. Photography . Print in piezography.

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DESTINY

When Death abruptly comes for you in Caravaggesque chiaroscuro, no one is ever ready for it, and everyone is lost to utter stupefaction, unable to imagine this passage to the beyond. An allegory for the end, for destiny, for the inevitable fatality of life, and a reflection on “vanity”, this series, with its very contemporary aesthetic, renews the theme of the “Grim Reaper”, which has been represented many times by artists throughout the history of art.

2010. Photography. Print in digigraphy.

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OWN DEATH

This short video loop is a sort of “gimmick” about one’s own death, illustrating a proposal for integrating it into one’s living consciousness, while also detecting in it the complexity of what that entails, in an ironic and quirky way, and with a humor that is somewhat, even bordering on the distasteful or sick…

2010. Videography.

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BURN OUT

A play on words between “burnout” and “burnout” (emotional and physical overload). I arrive on crutches with a broken knee, get on the motorcycle, and burn and blow out the tire, generating copious amounts of smoke. Then I dismount and walk off-screen: an allegory for speed, friction, exceeding the limits, overload, and explosion. Fragility of the body in the face of machines.

2010. Videography.

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PELVIS

This video animation takes the form of fanciful medical imagery, and evokes an incision into the body, specifically, at the site of the pelvis—a point of pleasure/suffering for the body, or an illustration of the dialectic between ecstasy and death, of Eros and Thanatos...

2010. Videography made with radiography.

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BITMAP CHRIST - RESUR-

ECTION

Transposing the presence of Christ into a digital incarnation is not just a way of underlining the “kitsch” with which this redemptive figure is often used and exploited. It is also a tribute to the necessity of his presence in this digital space, as a transcending of death.

2012. Animation, piezography and digigraphy.

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WHITE FUNERAL

In this series of staged photographs, we find the very essence of death, with steles buried in the cold, the interment of being, an almost pure form of death...

2021. Photography. Printed in digigraphy.

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TWO STEPS TO DEATH

Death, live, and expressed without artifice through the most evident symbols: a grave, a bomb, a waterspout... Perfectly clear pictos that become a metalanguage.

2010. Chinese ink.

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DIGI†AL GRAVEYARD

In Digital Graveyard, a virtual and interactive work, the public is invited to reflect on its own death, but in a playful way. This is nonetheless the paradox, or even oxymoron (an oxymortality?), represented by the tension between the rich and colourful iconography, the piece’s “game” dimension, and the fact that each and every viewer must actually check in to a future in which his or her death has already come to pass! It is up to viewers to come to a decision, and to dare to tame the irreducible human condition, by choosing “their own” headstones out of a wide range of tombs, on which to have their initials engraved. Another important function of this digital piece, which takes the form of a dedicated website, is the idea of inserting oneself into a wider community, that of the “virtual cemetery”. Thus, Keight reminds us that, from time immemorial, there have been sacred and ritual qualities to the question of burial, qualities that are part of a collective dimension... but he renews the way that dimension is seen, through the individuation of each person via his or her own colours and choices, conscious and alive.

2021. Interactive piece. Click here to see the piece.

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WELCOME TO DEA†H

By Keigh†

Works from 2010 to 2023.

Content: mixed media such as interactive, photography, videography, animation, vector drawing and traditionnal drawings.

© 2024-2007 Keight Art. All rights reserved. keight@keight.art

GRAVES

An allegory archetypic for the end, for destiny, for the inevitable fatality of life. No matter if we're famous of not.

2023. Vector drawing. Print in piezography.

DEA†H
DEA†H
DEA†H
DEA†H
DEA†H
DEA†H

COFFINS

This serie evokes the human finality of spirit and body through the big box that is the coffin. Three steps that go in an ending way : open of the coffin, the coffin is being closed, the closed coffin and the experience is finished.

2023. Vector drawing. Print in piezography.

DEA†H
DEA†H
DEA†H
DEA†H
DEA†H
DEA†H

FACE OF DEATH

A disturbing chiaroscuro from which faces emerge, at once ghostly and melting into death, and conversely flirting with life... a reminder that death is in, and awaits, each of us.

2010. Photography . Print in piezography.

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DESTINY

When Death abruptly comes for you in Caravaggesque chiaroscuro, no one is ever ready for it, and everyone is lost to utter stupefaction, unable to imagine this passage to the beyond. An allegory for the end, for destiny, for the inevitable fatality of life, and a reflection on “vanity”, this series, with its very contemporary aesthetic, renews the theme of the “Grim Reaper”, which has been represented many times by artists throughout the history of art.

2010. Photography. Print in digigraphy.

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DEA†H
DEA†H
DEA†H
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DEA†H

OWN DEATH

This short video loop is a sort of “gimmick” about one’s own death, illustrating a proposal for integrating it into one’s living consciousness, while also detecting in it the complexity of what that entails, in an ironic and quirky way, and with a humor that is somewhat, even bordering on the distasteful or sick…

2010. Videography.

DEA†H

BURN OUT

A play on words between “burnout” and “burnout” (emotional and physical overload). I arrive on crutches with a broken knee, get on the motorcycle, and burn and blow out the tire, generating copious amounts of smoke. Then I dismount and walk off-screen: an allegory for speed, friction, exceeding the limits, overload, and explosion. Fragility of the body in the face of machines.

2010. Videography.

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PELVIS

This video animation takes the form of fanciful medical imagery, and evokes an incision into the body, specifically, at the site of the pelvis—a point of pleasure/suffering for the body, or an illustration of the dialectic between ecstasy and death, of Eros and Thanatos...

2010. Videography made with radiography.

DEA†H

BITMAP CHRIST - RESUR-

ECTION

Transposing the presence of Christ into a digital incarnation is not just a way of underlining the “kitsch” with which this redemptive figure is often used and exploited. It is also a tribute to the necessity of his presence in this digital space, as a transcending of death.

2012. Animation, piezography and digigraphy.

DEA†H
DEA†H
DEA†H
DEA†H
DEA†H
DEA†H
DEA†H

WHITE FUNERAL

In this series of staged photographs, we find the very essence of death, with steles buried in the cold, the interment of being, an almost pure form of death...

2021. Photography. Printed in digigraphy.

DEA†H
DEA†H
DEA†H

TWO STEPS TO DEATH

Death, live, and expressed without artifice through the most evident symbols: a grave, a bomb, a waterspout... Perfectly clear pictos that become a metalanguage.

2010. Chinese ink.

DEA†H
DEA†H
DEA†H

DIGI†AL GRAVEYARD

In Digital Graveyard, a virtual and interactive work, the public is invited to reflect on its own death, but in a playful way. This is nonetheless the paradox, or even oxymoron (an oxymortality?), represented by the tension between the rich and colourful iconography, the piece’s “game” dimension, and the fact that each and every viewer must actually check in to a future in which his or her death has already come to pass! It is up to viewers to come to a decision, and to dare to tame the irreducible human condition, by choosing “their own” headstones out of a wide range of tombs, on which to have their initials engraved. Another important function of this digital piece, which takes the form of a dedicated website, is the idea of inserting oneself into a wider community, that of the “virtual cemetery”. Thus, Keight reminds us that, from time immemorial, there have been sacred and ritual qualities to the question of burial, qualities that are part of a collective dimension... but he renews the way that dimension is seen, through the individuation of each person via his or her own colours and choices, conscious and alive.

2021. Interactive piece. Click here to see the piece.

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