Time Lapse series: Quotidian gestures, combined, create a unique narrative of life by a wall in a place in the world. Time Lapse: 1 place, 1 moment. In 2011, photographer and musician Xan Padrón started Time Lapse. His fascination with time and movement, coupled with an uncanny ability to disappear behind the lens, unnoticed by his subjects, brought him to the realization of how much life happens even at the most seemingly insignificant location of a city. A willful arrest of movement, where action becomes observation, brought into focus a whole new vision of each unique ecosystem. From such chosen still points of time and space, life emanates. In Time Lapse Xan Padrón sits on a single spot, unnoticed, for 2 hours, photographing a sequence of people passing by against one unique background..

Time Lapse series: Quotidian gestures, combined, create a unique narrative of life by a wall in a place in the world. Time Lapse: 1 place, 1 moment. In 2011, photographer and musician Xan Padrón started Time Lapse. His fascination with time and movement, coupled with an uncanny ability to disappear behind the lens, unnoticed by his subjects, brought him to the realization of how much life happens even at the most seemingly insignificant location of a city. A willful arrest of movement, where action becomes observation, brought into focus a whole new vision of each unique ecosystem. From such chosen still points of time and space, life emanates. In Time Lapse Xan Padrón sits on a single spot, unnoticed, for 2 hours, photographing a sequence of people passing by against one unique background.

The work of artist Ysabel LeMay involves otherworldly images, digitally composed panoramas of natural splendor so vividly realized that one feels drawn to step into them. Lemay’s innovative technique is a lengthy process during which hundreds of photographs are taken and light and visual properties are attuned. She then assembles one detail at a time in a painterly fashion to form a single composition. While the technique is high-tech, LeMay’s hyper collage process is instinctual and organic, allowing each piece to dictate its own destiny. Now approaching new technological horizons, LeMay nonetheless seeks authenticity of experience over novelty.

Claiming, “Art in all forms has the power to transform me. It gives me that energy force, that drive I need to surpass myself,” Ysabel LeMay produces photographic montages in homage to nature and what she sees as its divine power and beauty. She came to art-making after a career as a commercial graphic designer, studying painting in 2002. By 2010, she had fallen in love with photography and embarked upon the creation of her painstakingly constructed images, honing her craft in a process she calls “Photo-Fusion.” To make each of her lush, dreamy, rococo visions of nature, she begins by taking hundreds of individual photographs—of birds, bees, flowers, trees, and animals of all kinds. She then stitches her photographs together into a single, seamless composition, at once surreal and convincing, and always full of life.

The work of artist Ysabel LeMay involves otherworldly images, digitally composed panoramas of natural splendor so vividly realized that one feels drawn to step into them. Lemay’s innovative technique is a lengthy process during which hundreds of photographs are taken and light and visual properties are attuned. She then assembles one detail at a time in a painterly fashion to form a single composition. While the technique is high-tech, LeMay’s hyper collage process is instinctual and organic, allowing each piece to dictate its own destiny. Now approaching new technological horizons, LeMay nonetheless seeks authenticity of experience over novelty.

The work of artist Ysabel LeMay involves otherworldly images, digitally composed panoramas of natural splendor so vividly realized that one feels drawn to step into them. Lemay’s innovative technique is a lengthy process during which hundreds of photographs are taken and light and visual properties are attuned. She then assembles one detail at a time in a painterly fashion to form a single composition. While the technique is high-tech, LeMay’s hyper collage process is instinctual and organic, allowing each piece to dictate its own destiny. Now approaching new technological horizons, LeMay nonetheless seeks authenticity of experience over novelty.

The work of artist Ysabel LeMay involves otherworldly images, digitally composed panoramas of natural splendor so vividly realized that one feels drawn to step into them. Lemay’s innovative technique is a lengthy process during which hundreds of photographs are taken and light and visual properties are attuned. She then assembles one detail at a time in a painterly fashion to form a single composition. While the technique is high-tech, LeMay’s hyper collage process is instinctual and organic, allowing each piece to dictate its own destiny. Now approaching new technological horizons, LeMay nonetheless seeks authenticity of experience over novelty.

The work of artist Ysabel LeMay involves otherworldly images, digitally composed panoramas of natural splendor so vividly realized that one feels drawn to step into them. Lemay’s innovative technique is a lengthy process during which hundreds of photographs are taken and light and visual properties are attuned. She then assembles one detail at a time in a painterly fashion to form a single composition. While the technique is high-tech, LeMay’s hyper collage process is instinctual and organic, allowing each piece to dictate its own destiny. Now approaching new technological horizons, LeMay nonetheless seeks authenticity of experience over novelty.

Playing with the perception of my onlookers.
My photograph only exists through the mind of the viewer.

"Playing with the perception of my onlookers.
My photograph only exists through the mind of the viewer."
A.Delamour
Albert delamour's technique is a layering process that evolved from years of experimenting with precious materials, and a passion to invent new ways to showcase photography and tell stories. It consists of layering several coats of silver and gold leaves, and a final coat of lacquer. This unrivaled combination paired with his secret touch leaves behind a liquid-glass luminescence, making each piece come alive in its own dimensional way. It has the power to mirror the past, present, and future.

His technique is a layering process that evolved from years of experimenting with precious materials, and a passion to invent new ways to showcase photography and tell stories. It consists of layering several coats of silver and gold leaves, and a final coat of lacquer. This unrivaled combination paired with his secret touch leaves behind a liquid-glass luminescence, making each piece come alive in its own dimensional way. It has the power to mirror the past, present, and future.

"Traveling around cities and countries, I take pictures of buildings, look into windows sneakily, go to local shops, flea markets and bars, watch everyday life – all this helps to build the feeling of the Place. This feeling becomes a foundation for a series of large-scale collages. While architecture and landscape are visual components of the integral image of the Place, at the same time, this image is inseparably linked with a mentality and a way of life. It is saturated with “an incorporeal something”. Ancient Romans called it “genius loci” – the protective spirit of a place. In contemporary usage, “genius loci” refers to a location’s distinctive atmosphere. A big house on each collage is composed of many buildings, which are typical for a particular country or city, in their connection with the land and the spirit of the Place.

My collages are "jars" where I keep the spirit of the places I visited. I want my collages to show not only architectural structures in cohesion with landscape but also to catch something bigger than sum of elements - a whole integral image of space. I want to visualize something intangible - the feeling, the atmosphere, even the smell. I think all the places have something special, which is true only there." Anastasia Savinova.

Savinova has shown her collaged works in a number of institutions and fairs including Uppsala Art Museum, Uppsala, Sweden, Galleri Heike Arndt DK, Kettinge, Denmark, ArtLab Studio, Uppsala, Sweden, Museum of Illustration and Modernity, Valencia, Spain, Broströms, Uppsala, Sweden, Affordable Art Fair, New York, and Art Market, San Francisco. She has held residencies at ArtLab Studio, Uppsala and Can Xalant, Mataro, Spain.

"Traveling around cities and countries, I take pictures of buildings, look into windows sneakily, go to local shops, flea markets and bars, watch everyday life – all this helps to build the feeling of the Place. This feeling becomes a foundation for a series of large-scale collages. While architecture and landscape are visual components of the integral image of the Place, at the same time, this image is inseparably linked with a mentality and a way of life. It is saturated with “an incorporeal something”. Ancient Romans called it “genius loci” – the protective spirit of a place. In contemporary usage, “genius loci” refers to a location’s distinctive atmosphere. A big house on each collage is composed of many buildings, which are typical for a particular country or city, in their connection with the land and the spirit of the Place.

My collages are "jars" where I keep the spirit of the places I visited. I want my collages to show not only architectural structures in cohesion with landscape but also to catch something bigger than sum of elements - a whole integral image of space. I want to visualize something intangible - the feeling, the atmosphere, even the smell. I think all the places have something special, which is true only there." Anastasia Savinova.

"Traveling around cities and countries, I take pictures of buildings, look into windows sneakily, go to local shops, flea markets and bars, watch everyday life – all this helps to build the feeling of the Place. This feeling becomes a foundation for a series of large-scale collages. While architecture and landscape are visual components of the integral image of the Place, at the same time, this image is inseparably linked with a mentality and a way of life. It is saturated with “an incorporeal something”. Ancient Romans called it “genius loci” – the protective spirit of a place. In contemporary usage, “genius loci” refers to a location’s distinctive atmosphere. A big house on each collage is composed of many buildings, which are typical for a particular country or city, in their connection with the land and the spirit of the Place.

My collages are "jars" where I keep the spirit of the places I visited. I want my collages to show not only architectural structures in cohesion with landscape but also to catch something bigger than sum of elements - a whole integral image of space. I want to visualize something intangible - the feeling, the atmosphere, even the smell. I think all the places have something special, which is true only there." Anastasia Savinova.

"Traveling around cities and countries, I take pictures of buildings, look into windows sneakily, go to local shops, flea markets and bars, watch everyday life – all this helps to build the feeling of the Place. This feeling becomes a foundation for a series of large-scale collages. While architecture and landscape are visual components of the integral image of the Place, at the same time, this image is inseparably linked with a mentality and a way of life. It is saturated with “an incorporeal something”. Ancient Romans called it “genius loci” – the protective spirit of a place. In contemporary usage, “genius loci” refers to a location’s distinctive atmosphere. A big house on each collage is composed of many buildings, which are typical for a particular country or city, in their connection with the land and the spirit of the Place.

My collages are "jars" where I keep the spirit of the places I visited. I want my collages to show not only architectural structures in cohesion with landscape but also to catch something bigger than sum of elements - a whole integral image of space. I want to visualize something intangible - the feeling, the atmosphere, even the smell. I think all the places have something special, which is true only there." Anastasia Savinova.

"Traveling around cities and countries, I take pictures of buildings, look into windows sneakily, go to local shops, flea markets and bars, watch everyday life – all this helps to build the feeling of the Place. This feeling becomes a foundation for a series of large-scale collages. While architecture and landscape are visual components of the integral image of the Place, at the same time, this image is inseparably linked with a mentality and a way of life. It is saturated with “an incorporeal something”. Ancient Romans called it “genius loci” – the protective spirit of a place. In contemporary usage, “genius loci” refers to a location’s distinctive atmosphere. A big house on each collage is composed of many buildings, which are typical for a particular country or city, in their connection with the land and the spirit of the Place.

My collages are "jars" where I keep the spirit of the places I visited. I want my collages to show not only architectural structures in cohesion with landscape but also to catch something bigger than sum of elements - a whole integral image of space. I want to visualize something intangible - the feeling, the atmosphere, even the smell. I think all the places have something special, which is true only there." Anastasia Savinova.

"Traveling around cities and countries, I take pictures of buildings, look into windows sneakily, go to local shops, flea markets and bars, watch everyday life – all this helps to build the feeling of the Place. This feeling becomes a foundation for a series of large-scale collages. While architecture and landscape are visual components of the integral image of the Place, at the same time, this image is inseparably linked with a mentality and a way of life. It is saturated with “an incorporeal something”. Ancient Romans called it “genius loci” – the protective spirit of a place. In contemporary usage, “genius loci” refers to a location’s distinctive atmosphere. A big house on each collage is composed of many buildings, which are typical for a particular country or city, in their connection with the land and the spirit of the Place.

My collages are "jars" where I keep the spirit of the places I visited. I want my collages to show not only architectural structures in cohesion with landscape but also to catch something bigger than sum of elements - a whole integral image of space. I want to visualize something intangible - the feeling, the atmosphere, even the smell. I think all the places have something special, which is true only there." Anastasia Savinova.

The sudden epidemic in 2020 makes us all have to think about the unpredictable world and the fleeting life. The Beauty of the material world can be thrilling, but also a flash in the pan.

What we all want to pursue in our life and what can comfort our hearts, just as the Diamond Sutra says: “All actions are like dreams and illusions, like dew and electricity. This should be done.”

Described by the artist as a “love letter to the transformative power of architecture,” Joel Kuntz’s GloboBots offer an exciting new take on what it is to be a city. Photographs of iconic buildings become the body parts of large-scale retro-futurist figures, urban landscapes cleverly reconstructed as robots.

Kuntz was born in Michigan. He studied graphic communications at The Center for Creative Studies in Detroit, photography at the School of Visual Arts, New York, and a degree in Art Direction at Portfolio Center, Atlanta, before going on to develop a successful professional career in advertising. Kuntz has worked in Los Angeles, Singapore and New York and has received a number of industry awards at shows including One Show, Graphis, Flash Forward and Contagious.

This advertising background is clear in Kuntz’s visual language. His painstakingly built GloboBots are hugely accessible; they feel strangely familiar, appealing, unthreatening. Since the first GloboBot, NYC01-03, was launched in 2014, Kuntz has shown his growing portfolio of robot-locations in New York, Hong Kong and Aqua Art Miami to a warm reception from both press and collectors. He is currently working on more world cities, including a commissioned piece for Colección SOLO.

Described by the artist as a “love letter to the transformative power of architecture,” Joel Kuntz’s GloboBots offer an exciting new take on what it is to be a city. Photographs of iconic buildings become the body parts of large-scale retro-futurist figures, urban landscapes cleverly reconstructed as robots.

Kuntz was born in Michigan. He studied graphic communications at The Center for Creative Studies in Detroit, photography at the School of Visual Arts, New York, and a degree in Art Direction at Portfolio Center, Atlanta, before going on to develop a successful professional career in advertising. Kuntz has worked in Los Angeles, Singapore and New York and has received a number of industry awards at shows including One Show, Graphis, Flash Forward and Contagious.

This advertising background is clear in Kuntz’s visual language. His painstakingly built GloboBots are hugely accessible; they feel strangely familiar, appealing, unthreatening. Since the first GloboBot, NYC01-03, was launched in 2014, Kuntz has shown his growing portfolio of robot-locations in New York, Hong Kong and Aqua Art Miami to a warm reception from both press and collectors. He is currently working on more world cities, including a commissioned piece for Colección SOLO.

Described by the artist as a “love letter to the transformative power of architecture,” Joel Kuntz’s GloboBots offer an exciting new take on what it is to be a city. Photographs of iconic buildings become the body parts of large-scale retro-futurist figures, urban landscapes cleverly reconstructed as robots.

Kuntz was born in Michigan. He studied graphic communications at The Center for Creative Studies in Detroit, photography at the School of Visual Arts, New York, and a degree in Art Direction at Portfolio Center, Atlanta, before going on to develop a successful professional career in advertising. Kuntz has worked in Los Angeles, Singapore and New York and has received a number of industry awards at shows including One Show, Graphis, Flash Forward and Contagious.

This advertising background is clear in Kuntz’s visual language. His painstakingly built GloboBots are hugely accessible; they feel strangely familiar, appealing, unthreatening. Since the first GloboBot, NYC01-03, was launched in 2014, Kuntz has shown his growing portfolio of robot-locations in New York, Hong Kong and Aqua Art Miami to a warm reception from both press and collectors. He is currently working on more world cities, including a commissioned piece for Colección SOLO.

Described by the artist as a “love letter to the transformative power of architecture,” Joel Kuntz’s GloboBots offer an exciting new take on what it is to be a city. Photographs of iconic buildings become the body parts of large-scale retro-futurist figures, urban landscapes cleverly reconstructed as robots.

Kuntz was born in Michigan. He studied graphic communications at The Center for Creative Studies in Detroit, photography at the School of Visual Arts, New York, and a degree in Art Direction at Portfolio Center, Atlanta, before going on to develop a successful professional career in advertising. Kuntz has worked in Los Angeles, Singapore and New York and has received a number of industry awards at shows including One Show, Graphis, Flash Forward and Contagious.

This advertising background is clear in Kuntz’s visual language. His painstakingly built GloboBots are hugely accessible; they feel strangely familiar, appealing, unthreatening. Since the first GloboBot, NYC01-03, was launched in 2014, Kuntz has shown his growing portfolio of robot-locations in New York, Hong Kong and Aqua Art Miami to a warm reception from both press and collectors. He is currently working on more world cities, including a commissioned piece for Colección SOLO.

Described by the artist as a “love letter to the transformative power of architecture,” Joel Kuntz’s GloboBots offer an exciting new take on what it is to be a city. Photographs of iconic buildings become the body parts of large-scale retro-futurist figures, urban landscapes cleverly reconstructed as robots.

Kuntz was born in Michigan. He studied graphic communications at The Center for Creative Studies in Detroit, photography at the School of Visual Arts, New York, and a degree in Art Direction at Portfolio Center, Atlanta, before going on to develop a successful professional career in advertising. Kuntz has worked in Los Angeles, Singapore and New York and has received a number of industry awards at shows including One Show, Graphis, Flash Forward and Contagious.

This advertising background is clear in Kuntz’s visual language. His painstakingly built GloboBots are hugely accessible; they feel strangely familiar, appealing, unthreatening. Since the first GloboBot, NYC01-03, was launched in 2014, Kuntz has shown his growing portfolio of robot-locations in New York, Hong Kong and Aqua Art Miami to a warm reception from both press and collectors. He is currently working on more world cities, including a commissioned piece for Colección SOLO.

Described by the artist as a “love letter to the transformative power of architecture,” Joel Kuntz’s GloboBots offer an exciting new take on what it is to be a city. Photographs of iconic buildings become the body parts of large-scale retro-futurist figures, urban landscapes cleverly reconstructed as robots.

Kuntz was born in Michigan. He studied graphic communications at The Center for Creative Studies in Detroit, photography at the School of Visual Arts, New York, and a degree in Art Direction at Portfolio Center, Atlanta, before going on to develop a successful professional career in advertising. Kuntz has worked in Los Angeles, Singapore and New York and has received a number of industry awards at shows including One Show, Graphis, Flash Forward and Contagious.

This advertising background is clear in Kuntz’s visual language. His painstakingly built GloboBots are hugely accessible; they feel strangely familiar, appealing, unthreatening. Since the first GloboBot, NYC01-03, was launched in 2014, Kuntz has shown his growing portfolio of robot-locations in New York, Hong Kong and Aqua Art Miami to a warm reception from both press and collectors. He is currently working on more world cities, including a commissioned piece for Colección SOLO.

Described by the artist as a “love letter to the transformative power of architecture,” Joel Kuntz’s GloboBots offer an exciting new take on what it is to be a city. Photographs of iconic buildings become the body parts of large-scale retro-futurist figures, urban landscapes cleverly reconstructed as robots.

Kuntz was born in Michigan. He studied graphic communications at The Center for Creative Studies in Detroit, photography at the School of Visual Arts, New York, and a degree in Art Direction at Portfolio Center, Atlanta, before going on to develop a successful professional career in advertising. Kuntz has worked in Los Angeles, Singapore and New York and has received a number of industry awards at shows including One Show, Graphis, Flash Forward and Contagious.

This advertising background is clear in Kuntz’s visual language. His painstakingly built GloboBots are hugely accessible; they feel strangely familiar, appealing, unthreatening. Since the first GloboBot, NYC01-03, was launched in 2014, Kuntz has shown his growing portfolio of robot-locations in New York, Hong Kong and Aqua Art Miami to a warm reception from both press and collectors. He is currently working on more world cities, including a commissioned piece for Colección SOLO.

Described by the artist as a “love letter to the transformative power of architecture,” Joel Kuntz’s GloboBots offer an exciting new take on what it is to be a city. Photographs of iconic buildings become the body parts of large-scale retro-futurist figures, urban landscapes cleverly reconstructed as robots.

Kuntz was born in Michigan. He studied graphic communications at The Center for Creative Studies in Detroit, photography at the School of Visual Arts, New York, and a degree in Art Direction at Portfolio Center, Atlanta, before going on to develop a successful professional career in advertising. Kuntz has worked in Los Angeles, Singapore and New York and has received a number of industry awards at shows including One Show, Graphis, Flash Forward and Contagious.

This advertising background is clear in Kuntz’s visual language. His painstakingly built GloboBots are hugely accessible; they feel strangely familiar, appealing, unthreatening. Since the first GloboBot, NYC01-03, was launched in 2014, Kuntz has shown his growing portfolio of robot-locations in New York, Hong Kong and Aqua Art Miami to a warm reception from both press and collectors. He is currently working on more world cities, including a commissioned piece for Colección SOLO.

Described by the artist as a “love letter to the transformative power of architecture,” Joel Kuntz’s GloboBots offer an exciting new take on what it is to be a city. Photographs of iconic buildings become the body parts of large-scale retro-futurist figures, urban landscapes cleverly reconstructed as robots.

Kuntz was born in Michigan. He studied graphic communications at The Center for Creative Studies in Detroit, photography at the School of Visual Arts, New York, and a degree in Art Direction at Portfolio Center, Atlanta, before going on to develop a successful professional career in advertising. Kuntz has worked in Los Angeles, Singapore and New York and has received a number of industry awards at shows including One Show, Graphis, Flash Forward and Contagious.

This advertising background is clear in Kuntz’s visual language. His painstakingly built GloboBots are hugely accessible; they feel strangely familiar, appealing, unthreatening. Since the first GloboBot, NYC01-03, was launched in 2014, Kuntz has shown his growing portfolio of robot-locations in New York, Hong Kong and Aqua Art Miami to a warm reception from both press and collectors. He is currently working on more world cities, including a commissioned piece for Colección SOLO.

Described by the artist as a “love letter to the transformative power of architecture,” Joel Kuntz’s GloboBots offer an exciting new take on what it is to be a city. Photographs of iconic buildings become the body parts of large-scale retro-futurist figures, urban landscapes cleverly reconstructed as robots.

Kuntz was born in Michigan. He studied graphic communications at The Center for Creative Studies in Detroit, photography at the School of Visual Arts, New York, and a degree in Art Direction at Portfolio Center, Atlanta, before going on to develop a successful professional career in advertising. Kuntz has worked in Los Angeles, Singapore and New York and has received a number of industry awards at shows including One Show, Graphis, Flash Forward and Contagious.

This advertising background is clear in Kuntz’s visual language. His painstakingly built GloboBots are hugely accessible; they feel strangely familiar, appealing, unthreatening. Since the first GloboBot, NYC01-03, was launched in 2014, Kuntz has shown his growing portfolio of robot-locations in New York, Hong Kong and Aqua Art Miami to a warm reception from both press and collectors. He is currently working on more world cities, including a commissioned piece for Colección SOLO.

Described by the artist as a “love letter to the transformative power of architecture,” Joel Kuntz’s GloboBots offer an exciting new take on what it is to be a city. Photographs of iconic buildings become the body parts of large-scale retro-futurist figures, urban landscapes cleverly reconstructed as robots.

Kuntz was born in Michigan. He studied graphic communications at The Center for Creative Studies in Detroit, photography at the School of Visual Arts, New York, and a degree in Art Direction at Portfolio Center, Atlanta, before going on to develop a successful professional career in advertising. Kuntz has worked in Los Angeles, Singapore and New York and has received a number of industry awards at shows including One Show, Graphis, Flash Forward and Contagious.

This advertising background is clear in Kuntz’s visual language. His painstakingly built GloboBots are hugely accessible; they feel strangely familiar, appealing, unthreatening. Since the first GloboBot, NYC01-03, was launched in 2014, Kuntz has shown his growing portfolio of robot-locations in New York, Hong Kong and Aqua Art Miami to a warm reception from both press and collectors. He is currently working on more world cities, including a commissioned piece for Colección SOLO.

Described by the artist as a “love letter to the transformative power of architecture,” Joel Kuntz’s GloboBots offer an exciting new take on what it is to be a city. Photographs of iconic buildings become the body parts of large-scale retro-futurist figures, urban landscapes cleverly reconstructed as robots.

Kuntz was born in Michigan. He studied graphic communications at The Center for Creative Studies in Detroit, photography at the School of Visual Arts, New York, and a degree in Art Direction at Portfolio Center, Atlanta, before going on to develop a successful professional career in advertising. Kuntz has worked in Los Angeles, Singapore and New York and has received a number of industry awards at shows including One Show, Graphis, Flash Forward and Contagious.

This advertising background is clear in Kuntz’s visual language. His painstakingly built GloboBots are hugely accessible; they feel strangely familiar, appealing, unthreatening. Since the first GloboBot, NYC01-03, was launched in 2014, Kuntz has shown his growing portfolio of robot-locations in New York, Hong Kong and Aqua Art Miami to a warm reception from both press and collectors. He is currently working on more world cities, including a commissioned piece for Colección SOLO.

Described by the artist as a “love letter to the transformative power of architecture,” Joel Kuntz’s GloboBots offer an exciting new take on what it is to be a city. Photographs of iconic buildings become the body parts of large-scale retro-futurist figures, urban landscapes cleverly reconstructed as robots.

Kuntz was born in Michigan. He studied graphic communications at The Center for Creative Studies in Detroit, photography at the School of Visual Arts, New York, and a degree in Art Direction at Portfolio Center, Atlanta, before going on to develop a successful professional career in advertising. Kuntz has worked in Los Angeles, Singapore and New York and has received a number of industry awards at shows including One Show, Graphis, Flash Forward and Contagious.

This advertising background is clear in Kuntz’s visual language. His painstakingly built GloboBots are hugely accessible; they feel strangely familiar, appealing, unthreatening. Since the first GloboBot, NYC01-03, was launched in 2014, Kuntz has shown his growing portfolio of robot-locations in New York, Hong Kong and Aqua Art Miami to a warm reception from both press and collectors. He is currently working on more world cities, including a commissioned piece for Colección SOLO.

Described by the artist as a “love letter to the transformative power of architecture,” Joel Kuntz’s GloboBots offer an exciting new take on what it is to be a city. Photographs of iconic buildings become the body parts of large-scale retro-futurist figures, urban landscapes cleverly reconstructed as robots.

Kuntz was born in Michigan. He studied graphic communications at The Center for Creative Studies in Detroit, photography at the School of Visual Arts, New York, and a degree in Art Direction at Portfolio Center, Atlanta, before going on to develop a successful professional career in advertising. Kuntz has worked in Los Angeles, Singapore and New York and has received a number of industry awards at shows including One Show, Graphis, Flash Forward and Contagious.

This advertising background is clear in Kuntz’s visual language. His painstakingly built GloboBots are hugely accessible; they feel strangely familiar, appealing, unthreatening. Since the first GloboBot, NYC01-03, was launched in 2014, Kuntz has shown his growing portfolio of robot-locations in New York, Hong Kong and Aqua Art Miami to a warm reception from both press and collectors. He is currently working on more world cities, including a commissioned piece for Colección SOLO.