Florian Freier

// projects:
eye of god
cached landscapes
eye of god revisited
face detection
untitled snapchats
profile page
the moving city
views & shows

// info:
bio / cv



The Blue Boy, Thomas Gainsborough, 1770, The Huntington Library, San Marino CA
Madame Victoire, Adélaïde Labille-Guiard, 1787, Château de Versailles


Sir Thomas Reeve, Jacopo Amigoni, 1730-1736, The Graves Art Gallery, Sheffield UK


The Muse Erato, François Boucher, private collection


Mrs. John Puget, att. to Richard Gainsborough Dupont, The Metropolitan Museum of Art, New York
Comte d‘Angiviller, Jean-Baptiste Greuze, 1763, The Metropolitan Museum of Art, New York


The Love Letter, François Boucher, 1750, The National Gallery of Art, Washington DC
Madame Adelaide de France, Adélaïde Labille-Guiard, 1787, Château de Versailles


Pan and Syrinx, François Boucher, 1759, The National Gallery, London


Gainsborough Dupont, Thomas Gainsborough, c.1770–5, Tate Britain, London


Young Woman with a Bouquet of Roses, François Boucher, Private Collection
Olivia, Charles Baxter, 1862, Tunbridge Wells Museum and Art Gallery, Tunbridge Wells


Madame Grand, Élisabeth Louise Vigée Le Brun, 1783, The Metropolitan Museum of Art, New York
Portrait de Jean Dassier, Jean-Etienne Liotard, ca. 1726, Musées d'art et d'histoire, Genève


Condesa de Vilches, Federico de Madrazo, 1853, Madrid, Museo del Prado


Portrait of an Unknown Man, Carle Van Loo, about 1730-40, Château de Versailles
Portrait of the Artist in the Guise of a Mockingbird, Joseph Ducreux, 1793, Musée du Louvre, Paris


Venus on the Waves, François Boucher, 1769, The J. Paul Getty Museum, Los Angeles, CA
Gilles, Antoine Watteau, 1721, Musée du Louvre, Paris


Madame de Pompadour, François Boucher, 1759, The Wallace Collection, London


L’ivresse de Silène, Carle Vanloo, 1747, Musée des Beaux-Arts, Nancy


Marquise de Pompadour, François Boucher, 1750, Harvard Art Museums, Cambridge MA
Allegory of Justice Punishing Injustice, Jean-Marc Nattier, 1737, Private Collection



In an ongoing project starting in 2016 I‘m using the iPhone camera to mix up Snapchat filters with classic paintings in visual associations.

I‘m interested in the way augmented reality technology, facial recognition and algorithmic image processing are changing the way we use and see photography and camera based material:

Mostly recognized augmented reality filters in instant messaging apps clearly seem to blur the border between photography, painting and other visual media in a way that often seems to quote the visual habits of previous historical styles.

On the other hand I’m interested in the fact that it's the same technology of image recognition and automated image processing which is also supporting high-tech military operations, self driving cars and CCTV surveillance cameras around the world.

While apps like Snapchat did a great job in bringing these technologies mainstream to a general audience, they have also settled a broad acceptance among their users instead of generating a critical dialogue that might be crucial for a better understanding and determination of how they will change our world in recent future.

Ongoing project / 2016, 2017
All photographs via Snapchat 9.39.00 and later.

"Untitled Snapchats will be on view at Rencontres d'Arles 2017 - #BYOPaper // Papeteries Étienne - Trinquetaille // Friday 07. July 2017. Don' miss the show!

Related projects:
Revolving Poet (2016)
Face Detection (2014)


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