My work focuses on resonance and emotions, and the human urge of finding a place in the world.

I paint human conditions.

My work specifically focuses on people in trauma recovery – using figurative strategies in drawing, painting and code. I’ve had solo exhibitions in the US, France, Spain, Germany, the Czech Republic and Austria.

Click here to read my narrative CV.

(c) Thanassis Baxopoulos

Trauma: Painting the Inside

My art shows people who want to find a place in the world – with a special focus on trauma survival and recovery. This includes various topics of consciousness: from dream interpretation to psychoanalysis, from individual to social and political dynamics – including various modes of self-help and spirituality. My work repeatedly focuses on psychological symptoms: body dissociation, depersonalization, amnesia, fatigue, compulsions, etc.
Such symptoms often cannot be clearly depicted apart from clichés, because they neither exist in, nor offer clear imagery: the truth of a person is not merely revealed by their surface. Certain of my works therefore appear to show everyday scenes: someone may be sleeping, pottering, planting, fishing; the images do not articulate the reason for these actions, or the degrees of consciousness that motivate them – but they often appear symbolically charged.
Viewers are excluded from certain aspects of my paintings – like trauma survivors, who sometimes are denied
clear access to their bodies, memories and emotions


The depicted people’s introspective gazes indicate inner communications to which viewers cannot at first listen in. In this respect, viewers tend to be excluded from certain aspects and dynamics of my works – like trauma survivors themselves, who, due to dissociation, at times are denied clear access to their bodies, memories and emotions – to their lives.

"Healing is a daily event. You can’t 'go somewhere' to be healed; you must go inward to be healed. This means a daily commitment to doing the work. You are responsible for your healing and will be an active participant in that process."
"How to Do the Work", 2021
Nicole LePera


You can click here to view my work archive, which goes back until 2006.
My work is about transformation
as much as it is about vulnerability,
and the spirituality of
seemingly ordinary everyday moments.

My oldest work shows people in vertigo: tumbling, falling, entering a life. Since then, the pieces visualize fragments of what it means to inhabit a body – showing blissful, chaotic, lonely, connected, and all other sorts of moments. Although the work’s visual modes keep changing, its emotional base remains highly connected throughout the years. It blends geometry and nature, combines analog and digital metaphors and processes, and repeatedly uses DNA structures to reference the basis of life: my work is about transformation as much as it is about vulnerability, and the spirituality of seemingly ordinary everyday moments.

The slide show below highlights some of my work; you can click on the image captions to open the accompanying series.

About Me

I was a programmer before becoming an artist.

I programmed videogames at Rockstar Games before studying Fine Arts at the Academy of Fine Arts Vienna, which influenced the topic of my PhD thesis (painting and digital technologies).  I live and work in Vienna/Austria, and collaborate with galleries in Austria, Germany and Spain.

I curated over thirty exhibitions since co-managing the transmedial art space mo.ë, and am the author of the ongoing “Handbook for Emerging Artists (over fourty chapters are online, with over 70k views as of 2024).

I hold lectures and workshops, most recently at “Klasse für Alle” at the University of Applied Arts — over the years, this happened at places like the Royal Institute of Art (Stockholm), Gage Academy of Art (Seattle), University of Northern Colorado, University of Applied Arts Vienna, Academy of Fine Arts Vienna, University of Music and Performing Arts Vienna or the New Rochelle High School (New York).

Current Projects

Next to my art practice, I am active in various projects that empower artists — by making art world dynamics transparent, and local art scenes more welcoming.

  • Kunst und Klischee” is a German-language podcast with with guests from arts and culture; Marlene Streeruwitz, Roland Düringer, Voodoo Jürgens, Sara Ostertag, and many others joined so far.

  • The YouTube channel “On Doubt in Creative Practices” publishes short documentaries of creatives of all backgrounds, and accumulated over 750k views and over 75k watch hours by 2023.

  • The Handbook for Emerging Artists discusses artmaking and the art world in a complete way; it’s freely available (no paywall), and has been read over 70k times by 2023.

  • The Conscious Artist Membership was a 2023 project to discuss the artist’s life on various facets.
Exhibition View "Trauma", Museum Angerlehner, 2021

Visual Storytelling

I studied Fine Arts at the Academy of Fine Arts, Vienna — in the classes of Daniel Richter, Harun Farocki and Gunter Damisch (2006-2011). Painting, film and graphics, reflecting my curiosity on various image creation and interrogation methods.

Throughout these years I eventually focused on storytelling within the medium of painting; I also began my Doctoral Thesis (PhD) on this topic, which changed into an ontological interrogation about “Painting and Digital Technologies” (Elisabeth von Samsonow, Felicitas Thun-Hohenstein, 2011-2015).

The PhD thesis led to my curatorial work and to art writing – but also got me to expand my analog works to include digital processes. Doing so meant to revisit, renew and reconnect with my programming past. It also required establishing new tools and processes, to make use of both analog and digital dynamics, and establish new visualities.

The final drawings and paintings that use such processes rarely show their underlying digital roots; these are often based on my self-coded prototyping environment (see image below). It enables image and video abstractions (based on the Processing programming environment), and a robotic plotting device to be used for rendering certain parts onto paper or canvas. This results in an analog figuration that’s natively based in geometric abstraction – while keeping an analog exterior.

(c) Christian Bazant-Hegemark

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