Since 2010 Jonas Maas has made his mark as an artist using technology to produce work with the format and appearance of pictures and sculptures. He is particularly active on the German art scene, but his international profile is steadily growing. He began his training in 2006 at the Kunsthochschule in Mainz and continued it from 2010 to 2014 at the Kunstakademie in Düsseldorf, where he currently lives and works.
His first solo show took place in 2011 at the Raum für vollendete Tatsachen in Düsseldorf. Since then his work has been shown at exhibitions mainly at German venues and institutions.
Maas's work is grounded on modulations of various layers and variables in form, with systematic methods that give the finished piece a polished, clean, industrial look (it is no accident that he tends to work with digital printing), in which a hint of human presence underlies a general impression of mathematical graduation and order. Pieces such as the one in the Banco de España Collection –Untitled (dating from 2013 and first presented at his main venue, the Figge von Rosen Galerie in Berlin, where he has been exhibiting regularly ever since) –, are examples of his interest in creating illusionary spaces within his images, based on layering. In this case the layers make up a dense grid that veils the background of the scene but not so heavily as to obscure it completely. He works with patterns that generate both a fragmented scene tending to the abstract and a geometrical progression that becomes meaningful when seen in relation to the rest of the works in the series.
Since 2010 Jonas Maas has made his mark as an artist using technology to produce work with the format and appearance of pictures and sculptures. He is particularly active on the German art scene, but his international profile is steadily growing. He began his training in 2006 at the Kunsthochschule in Mainz and continued it from 2010 to 2014 at the Kunstakademie in Düsseldorf, where he currently lives and works.
His first solo show took place in 2011 at the Raum für vollendete Tatsachen in Düsseldorf. Since then his work has been shown at exhibitions mainly at German venues and institutions.
Maas's work is grounded on modulations of various layers and variables in form, with systematic methods that give the finished piece a polished, clean, industrial look (it is no accident that he tends to work with digital printing), in which a hint of human presence underlies a general impression of mathematical graduation and order. Pieces such as the one in the Banco de España Collection –Untitled (dating from 2013 and first presented at his main venue, the Figge von Rosen Galerie in Berlin, where he has been exhibiting regularly ever since) –, are examples of his interest in creating illusionary spaces within his images, based on layering. In this case the layers make up a dense grid that veils the background of the scene but not so heavily as to obscure it completely. He works with patterns that generate both a fragmented scene tending to the abstract and a geometrical progression that becomes meaningful when seen in relation to the rest of the works in the series.