Thomas Demand (Munich, 1964) works with models that he creates, photographs (using close-up shots to generate abstract forms) and later destroys, leaving the photographic image as the sole testimony to the process.

This exhibition is part of a series entitled Model Studies in which the artist uses the work of other creators to produce his photographs. On this occasion, he focuses on the patterns envisioned by designer Azzedine Alaïa (1935-2017) as a starting point. This Tunisian couturier was known for the monumental nature of his designs, which according to Mark Wilson, curator, and friend of the designer, must be considered sculptures. The shapes and colors of the designs suggest interesting artistic elements but as evidenced by comments, notes and modifications, Demand is particularly interested in the creative process.

On this occasion, under the title Model Studies IV, Thomas Demand develops the idea of the model as a tool for creative thought, not as an object to be presented to a client; these models are not meant to be in the spotlight.

The sketch that precedes the heft of the final piece does not need to appear to be perfect. Reflection, work, and creativity are the underlying concepts that drive this exhibition, one in which Demand moves away from the obstinate need to obtain results; patterns that focus on an unfinished creative process. Imperfection as a workspace that allows one to adjust, correct and create new scenarios full of nuances.

Thomas Demand studied at the art schools in Munich, Düsseldorf and at Goldsmiths College, University of London. His work has been part of multiple exhibitions and is included in some of the most important private and public collections worldwide. Among his latest exhibitions we find: Thomas Demand: Paper World, Centro Botín, Santander (until March 6th, 2022); Thomas Demand, Garage Museum of Contemporary Art, Moscow (2021); House of Cards, Museum Leuven, Leuven, Belgium (2020). He currently lives and works in Berlin and Los Angeles (California).