Hans-Peter Feldmann

Hans-Peter Feldmann works with the found image the way a collector works with stamps: sorting, arranging, sometimes painting over. Postcards, newspaper clippings, amateur snapshots — the everyday visual debris that circulates without authorship — become the raw material for quiet, deadpan installations.

The paintings arrive later in the practice, often reworking found photographs with a careful, almost anonymous hand. A woman with lipstick. A portrait that could have come from anywhere. The work refuses drama in favor of something more patient: the slow accumulation of looking.

He has shown internationally since the 1960s and continues to work from Düsseldorf, where the studio functions less as a site of production than as an archive of the already-made.