‘Bzzrt’ is the portfolio website of artist and printmaker Ingmar Spit. He creates colorful digital art, which is reproduced as art prints on watercolor paper, aluminum, and acrylic sheet from his studio in Almere.
In his work, his style mixes abstraction, figurative art, pop art and typography. He blends minimalist graphic design and the creative freedom of fine art using intuition and humour. With that said, he absolutely isn't afraid to address key social and cultural subjects.
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Anarkins bluff
Anarkin's Bluff – sublimation print on aluminum, 80×80 cm (2026) ‘Anarkin’s Bluff’ is an abstract artwork featuring an explosion of squares and circles. Geometric, but still a bit loose: the triangles, arcs and overlapping shapes are sharp, but drawn freehand. The saturated colours – red, yellow, turquoise, purple, green and bright pink – add extroverted energy to the work.
‘Anarkin’s Bluff’ is an intuitively chosen title for an abstract work. In various Northern European languages, the word ‘Anarki’ refers to anarchy: a state without a leader or authority. At the same time, the title conjures up the image of a tragic hero, or even a nod to Anakin, the fallen hero from Star Wars, whose self-deception leads to decline and chaos. The English meaning of ‘bluff’ fits in perfectly here: it stands for directness and forthrightness, but also for strength, deception or even a false front.
The work is thematically linked to 'On Cruelty' (2025). In that piece, a cacophony of words and letters demands self-reflection. In “Anarkin’s Bluff,” it is a kaleidoscopic image of abstract spaces that takes the form of a carefully constructed yet unstable identity—our self-image.
Features and specifications
Title: Anarkins bluff
Year: 2026
Software: Affinity Designer
Process: Sublimation printing
Material: Aluminium
Dimensions: 80×80 cm -
Portrait of a Daffodil
Portrait of a Daffodil I (Aquamarine) 30x30 cm sublimation print (2026) In ‘Portrait of a Daffodil’ we see the flower head of a yellow daffodil in profile. The heart of the daffodil is captured in fluid lines. The petals have a much more fragile appearance. Bruises and damage are visible. Light shines through the petals in some places, adding depth and life to the piece.
Portrait of a Daffodil II (2026) These prints come in different varieties, just likeSpring Rain. By varying the colors, different printing techniques and materials each version takes on its own unique character. Sublimation prints on metal are available, as well as fine art prints on watercolor paper.
In ‘Portrait of a Daffodil II’, four daffodils are rendered in bright neon colours, a nod to Andy Warhol’s silkscreen prints.
Portrait of a Daffodil I (Brown), sublimation print on aluminium 30x30 cm (2026) Features and specifications
Title: Portrait of a Daffodil
Year: 2026
Software: Affinity Designer
Process: Sublimation printing
Material: Aluminium
Dimensions: 60×60 cm and 30×30 cm -
Rise of the Daffodils
Rise of the Daffodils - Sublimation print on aluminium (matte) 40×60 cm (2026) In 'Rise of the Daffodils', three yellow flowers pose triumphantly, as if it were a portrait of a guild. The work is straightforward and direct, but still captures a sense of the subject's gentle nature.
The daffodils stand out from their stylized background, which is little more than a horizon line. The petals are rendered as flat surfaces with patches of shadow. They get a sense of depth and direction through the use of different shades of yellow.
Daffodils are true flowers of spring, but in this setting they appear defiant and militant. The artist explains: “I started drawing an army of flowers, out of a sense of self-preservation, really. I find the hardening of public life to be an incredible ugliness. Here in Almere, thousands of daffodils bloom every spring, as if an enormous army of flowers rises up against the ugliness of intolerance and exclusion.”
Rise of the Daffodils - Sublimation print on aluminium 60×40 cm (2026) Ingmar is currently working on a small series of daffodils. The second work in this series isPortrait of a Daffodil.
Features and specifications
Title: Rise of the Daffodils
Year: 2026
Software: Affinity Designer
Process: Sublimation printing
Material: Aluminium
Dimensions: 60×40 cm -
Spring Rain
Spring Rain I (blue on orange) – 80×80 cm (2026) The flowers in ‘Spring Rain’ gently float against a backdrop of a rising sun. The colors have been shifted, which makes the image feel a bit abstract and slightly psychedelic. Still, it has a calming aura: the flowers fall like a gentle blanket.
These prints are inspired by Japanese printmaking. In the Japan Museum Sieboldhuis at the city of Leiden, Ingmar visited exhibitions of this traditional woodblock print art, which made a great impression on him.
The prints are a reaction to changes in our culture, where Ingmar is looking for ways to resist the growing intolerance that he sees. This has led to a series dedicated to flowers, including ‘Rise of the Daffodils'and 'Portrait of a Daffodil‘.
Spring Rain I (orange on blue) – 80×80 cm (2026) The prints are available in different versions. Two of these have been produced so far: ‘blue on orange’ and ‘orange on blue’. In addition to the inkjet prints on acrylic that have already been published, the series also includes editions on fine art paper and as sublimation prints on metal.
Features and specifications
Title: Spring Rain
Year: 2026
Software: Affinity Designer
Process: Sublimation or inkjet printing
Material: Acrylic, watercolor paper, or aluminum
Dimensions: 80×80 cm -
Liquid Modernity
Liquid Modernity – artprint (2026) 'Liquid Modernity' is a visual contemplation on the fluidity of our modern society. In the piece, we see a rolling water surface reflecting sunlight. The color palette is unusual and clashing: green, aquamarine, red, and even a small splash of light blue compete for a seat on the dark blue waves.
The title of the work is taken from Zygmunt Bauman’s book ‘Liquid modernity’: modern society is portrayed as temporary, flexible and constantly changing, in contrast to the fixed structures of the past. As a result, cruelty in our societies has become more intangible. Bauman refers to this as the ‘liquidity of evil’.
This print is part of a series of works such as 'Weight, monument for comma seperated values', in which the artist reflects on a life shaped by hypertechnological developments.
Features and specifications
Title: Liquid Modernity
Year: 2026
Software: Affinity Designer
Process: Inkjet printing
Material: Acrylic plate
Dimensions: 80×80 cm -
Butterfly
Sublimatieprint op aluminium (2026) Two young faces, butterfly wings, the outline of an egg with a keyhole in its centre – all brought together in a single image. It refers to the butterfly effect from chaos theory: the concept that small changes at the outset of a complex system can have unpredictable consequences over time.
This art print was created for photographer and council member Suzanne van der Laar, following conversations during an exhibition of Ingmar’s work in the faction roomSuzanne is a remarkable individual: with boundless energy and a natural ease, she draws attention to her passion for culture, diversity, solidarity and inclusivity. When she asked him to create something for a political campaign, Ingmar created something for her personally instead.
Features and specifications
Title: Butterfly
Year: 2026
Software: Affinity Designer
Process: Sublimation printing
Material: Aluminium
Dimensions: 60x60 cm -
On Cruelty
On Cruelty – inkjet print on acrylic, 90×90 cm (2025) A cacophony of brightly coloured words tumble over one another. Within the jumble of letters, the phrases ‘How cruel are you’ and ‘How are you cruel’ emerge (‘How’ in pink, ‘cruel’ in yellow, ‘are you’ in light blue).
The question put to us here is how, through both big and small choices, are we complicit to everyday cruelty.
Cruelty does not only come from deliberate actions. It is fluid, present in everyday choices: looking the other way, normalising, accepting, or facilitating systems that legitimise cruelty. Because we are silent, comply, and do not dare to ask how our own behaviour contributes to a society in which cruelty can thrive.
Related work: 'Anarkins bluff'and 'Liquid modernity‘.
Detail On Cruelty, inkjet print on acrylic, 90×90 cm Features and specifications
Title: On Cruelty
Year: 2025
Software: Affinity Designer
Process: Inkjet printing
Material: Acrylic plate
Dimensions: 90×90 cm -
Weight, monument for Comma Separated Values
Weight – A monument to Comma Separated Values – sublimation print on aluminium, 80×80 cm (2025) A monument to an ordinary file type: the CSV file. An unremarkable sequence of comma-separated numbers – normally hidden behind databases, language models and algorithms – is being given a statue.
The work reflects on the significant role that data has come to play in our society. CSV files are a simple way of organising information. That information includes our movements, actions, likes and dislikes, as well as all our images, faces, voices, texts and music. Almost everything we do is stored, organised, weighed and evaluated using these file types.
‘Weight, monument for Comma Separated Values’ reminds us that data is not only functional and abstract—and therefore malleable and algorithmic—but above all cultural, poetic, personal, and political.
Related work: 'Liquid Modernity‘.
Features and specifications
Title: Weight, a monument for Comma Separated Values
Year: 2025
Software: Affinity Designer
Process: Sublimation printing
Material: Aluminium
Dimensions: 80×80 cm -
Self Portrait
Fine art print on watercolor paper (2026) ‘Self-Portrait’ (2025) reveals Ingmar’s love for Matisse’s. Pen on paper, digitised by hand (below), then coloured in Affinity Designer. The final result is a fine art print on watercolor paper.
Digitised line drawing (2026) Features and specifications
Title: Self Portrait
Year: 2025
Software: Affinity Designer
Process: Fine art print
Material: Watercolor paper
Dimensions: 40x30 cm -
Little Dreamcruiser
Little Dreamcruiser Dukie in Racing Red (2025) Little Dreamcruiser is a charming little fantasy automobile that doubles as a nightlight. Its round dome, animal ears, and chunky wheels make it look like it just rolled out of a kids' cartoon.
Equipped with an LED light hidden inside, Dukie emits a warm, soothing glow and transforms into a playful nightlight for kids' bedrooms.
Little Dreamcruiser (2025) Features and specifications
Title: Little Dreamcruiser
Year: 2025
Software: Plasticity
Process: 3D filament printing
Material: Filament and LED light
Dimensions: 14x11x14.5 cm -
SQ3
SQ3 – inkjet on acrylic, 80×80 cm (2024) ‘SQ3’ is an abstract artwork in which subtle variations in colour and shape create a visual vibration. The design is written in SVG code: lines, shapes and colour values are defined using simple written instructions. This code is then rendered into a high-resolution art print.
In this series of abstract artworks, a great deal of dynamism is created through small variations within a simple set of rules – rectangles on squares. All the designs in this series are created using SVG code. The code is written by the artist themselves. As a final step, the compositions are translated into physical art prints.
These digital artworks are available in various editions. For example, 'SQ 1’ has been published as a stunning sublimation print on aluminium, with a subtle matt finish. ‘SQ 3’ has been reproduced as an inkjet print on acrylic sheet, which has a glass-like appearance. A piece such as ‘Fast Forward’ demonstrates that fine art printing is also a perfect medium for this type of abstract artwork. The colours take on a soft, almost tactile quality thanks to the texture of the watercolour paper and the intensity of the pigments in the inks.
Features and specifications
Title: SQ3
Year: 2024
Software: SVG code
Process: Inkjet printing
Material: Acrylic plate
Dimensions: 80×80 cm -
UNDO
UNDO – Fine Art print on watercolour paper – 160×40 cm (2021) ‘UNDO’ is a cheerful typographic art print in which Ingmar seeks to explore the boundaries of abstract art. The composition is made up of four blocks in which letters are precisely placed using playful lines. The negative spaces are filled with pink abstract triangles.
The design is executed as a fine art print on watercolour paper. Using this technique, the colours take on an almost powdery quality due to the intensity of the pigment inks and the texture of the paper.
“While working on ‘Fast Forward’ I recalled an unbearable moment. Years ago, an accident took place right in front of me, involving someone close to me. My mind instinctively reached for the ‘undo’ button. Literally. It was a reaction to something that shouldn’t have happened, but which, at that moment, became an inescapable reality.”
Features and specifications
Title: UNDO
Year: 2021
Software: Illustrator
Process: Fine art print
Material: Watercolor paper
Afmetingen: 160×40 cm -
Tätigkeit der Hypofyse
Tätigkeit der Hypofyse, inkjet on acrylic panel, 90×90 cm (2019) Composed of squares, triangles, circles and lines, this work borders on abstract art. When we look at the triangles, squares and circles, we see symbols that are darker than the cheerful colours might suggest.
The colourful squares refer to the LGBTQ movement's rainbow colours, where they represent visibility, diversity and pride In the middle sits the Eye of Providence: originally a symbol of an all-seeing and caring love. Right below it, smack in the middle of a pink-yellow davidstar, a keyhole. The triangles have the same colours and shape as those found in Second World War extermination camps. The droplets create streaks across the image, as if the squares bleed their own colour.
Tätigkeit der Hypofyse – fine art print on watercolor paper, 50×50 cm (2019) This geometric artwork from 2019 highlights the resurgence of intolerance towards anyone who is labeled as different or deviant. Following the successful emancipation efforts of previous years, this is a deeply troubling development.
Related work: 'Bad penis’.
Tätigkeit der Hypofyse – inkjet print on vinyl, 200×200 cm (2019) This digital artwork is being printed in a variety of techniques and materials. In 2019, a first edition measuring 200 × 200 cm came out, printed on vinyl. In 2021, the piece, together with a series of designs from that period, was released as 50 × 50 cm fine-art prints. The most recent edition (2025) is an inkjet print on a 90 × 90 cm acrylic panel.
Features and specifications
Title: Tätigkeit der Hypofyse
Year: 2019
Software: Illustrator
Process: Inkjet printing
Material: Acrylic plate
Dimensions: 90×90 cm -
Yo love me
Yo love me – art print (2020) The colorful sections and typographic shapes in ‘Yo love me’ are sharp and angular. This is the language of a love that is demanded. A bright yellow shape cuts right through the letters and splits the image in two. The colour is slightly translucent, making it unexpectedly fragile and vulnerable. Like much of Ingmar’s art, this work is a response to a social phenomenon expressed in near-abstract form. This time, it is a commentary on the attention economy that increasingly claims our time and focus.
Fine art print 50×50 cm (2020) Like Ingmar’s other typographic art , this piece is available in various formats. There is, for example, a 150×150 cm version on vinyl, an 80×80 cm inkjet print on acrylic and a 50×50 cm fine art print on watercolour paper.
Features and specifications
Title: Yo Love Me
Year: 2020
Software: Illustrator
Process: Fine art print
Material: Watercolor paper
Dimensions: 80×80 cm -
Fast Forward
Fine Art Print on watercolour paper, 150 x 80 cm (2020) ‘Fast Forward’ consists of fifty cheerfully coloured blocks, each featuring a fast-forward button like we are all familiar with from video apps, cassette players and other media players. The repetition of the double arrows creates a strong visual sense of acceleration.
“The idea for this print came about during a conversation at the breakfast table, in the early days of the coronavirus pandemic, immediately after the lockdowns were announced. We were discussing how great it would be to fast-forward through life for a moment, so that nobody would have to go through what lay ahead.”
Fine art print on watercolor paper (artist's collection) – 150×80 cm Each button consists of three colours: arrows, background and border. Each of the 150 individual colours is unique: a reference to individuality within a society. Ingmar uses this motif of unique colours elsewhere, like in ‘MEME‘.
Fast Forward art print, digital version (2020) Features and specifications
Title: Fast Forward
Year: 2020
Software: Illustrator
Process: Fine art print
Material: Watercolor paper
Dimensions: 150×80 cm -
SQ 1
SQ 1 – Sublimation print on aluminium, 80×80 cm (2022) ‘SQ1’ is the starting point of the SQ series: a grid of squares that is set in motion by colour and subtle displacement. The artworks are created in SVG code and published as art prints on aluminium, watercolour paper or acrylic panels.
‘SQ’ is a series of geometrically abstract works in which a grid, colour and subtle displacement create tension throughout the composition. Within a uniform grid, squares are offset, modified and assigned distinct colour values, creating a vibrant and dynamic aesthetic.
SQ1 on location (private collection) Colour and dynamics
In SQ1, movement between the squares takes centre stage: contrasts, colour and rhythm cause the pattern to dance. The result is an interaction of stillness and movement that is typical for the entire SQ series.
SQ 1 – Sublimation print on aluminium, 80×80 cm (2022) The design was created directly in SVG code: a computer language that uses simple mathematical instructions to describe lines, shapes and colour values. The SVG code for ‘SQ 1’ was converted into a high-resolution sublimation print on an 80×80 cm aluminium panel.
Features and specifications
Title: SQ1
Year: 2022
Software: SVG code
Process: Sublimation printing
Material: Aluminium
Dimensions: 80×80 cm -
Bounce
Bounce - Inkjet on acrylic, 100×100 cm (2020) 
Bounce - Inkjet on acrylic, 100×100 cm (2020) Features and specifications
Title: Bounce
Year: 2020
Software: Illustrator
Process: Inkjet printing
Material: Acrylic plate
Dimensions: 100x100 cm -
Matter
Matter – Fine art print on watercolour paper, 50×50 cm (2020) In ‘Matter’, the intuitive yet meticulous approach Ingmar takes to his art is perfectly reflected. The central figure, assembled from the shapes of keyholes, depicts a skull, a saint and a keyhole. Thanks to some cleverly placed cast shadows, this guardian of secrets appears to have been cut out of a self-composed Mondrian.
The two small figures at the front are schematic representations of subatomic particles: a proton and an electron. The eyes and mouth form a schematic representation of charge or spin: positive and negative, attraction and repulsion. At the same time, the lines and crosses are a means of depicting expressions in comic strips: these are the faces of stick figures.
In this way, Ingmar's symbolism is both explicit and intuitive.
Matter – Fine art print on watercolour paper, 50×50 cm (2020) The work has been rendered as a fine art print on watercolour paper and is hanon display in the laboratory of a theoretical quantum physicist.
Features and specifications
Title: Matter
Year: 2020
Software: Illustrator
Process: Fine art print
Material: Watercolor paper
Dimensions: 50×50 cm -
So Long and thanks for all The Fish
So long and thanks for all the fish – art print on acrylic panel, 80×80 cm (2019) ‘So long and thanks for all the fish’ is an unsettling iconographic image that is, at the same time, light-hearted due to the colours, style and tone of voice. The composition is playful and graphic, with precise lines and intuitively chosen blocks of colour that are characteristic of Ingmar’s figurative, abstract and typographic work.
At the centre is a terrified figure of Christ, revealing his hands dripping with green blood. His unusual nudity, sharp teeth, single eye and keyhole are equally striking. Behind Christ, we see a medallion and three fish, a symbol of Christ himself, but also a reference to Douglas Adams’s science fiction series 'The Hitchhiker’s Guide to the Galaxy'.. In it, dolphins depart from Earth – which has been condemned to the scrap heap – with the message ‘So long and thanks for all the fish’.
‘Icons‘ is a series of pop art prints created by Ingmar in 2019 and 2020. In this series, modern and historical narratives are submerged in colour and intuitively woven together. Bright, contrasting colours and clean, graphic outlines strip the imagery of its religious earnestness and place it in the world of pop art.
So long and thanks for all the fish – Fine art print on watercolour paper, 50×50 cm (2019) ‘So long and thanks for all the fish’ has been published as, amongst other editions, a fine art print on 50×50 cm watercolour paper. In addition, a large 150×150 cm inkjet print has been produced on vinyl, and the icon is available as an inkjet print on an 80×80 cm acrylic panel.
Features and specifications
Title: So long and thanks for all the fish
Year: 2019
Software: Illustrator
Process: Inkjet printing
Material: Acrylic plate
Dimensions: 80×80 cm -
Bad penis
Bad penis - Fine Art Print on watercolour paper 50 x 50 cm (2020) ‘Bad Penis’ is an ironic caricature with a psychedelic vibe. In the middle of the piece, a penis with edgy little wings and a grumpy face stands on a stool. Behind the bad-tempered penis, there's a pink ring with dots and a dark hole surrounded by a wreath of sperm cells, along with small keyholes each containing a tiny eye. The background features a bustling half-tone pattern commonly used in newspaper and magazine printing.
The print uses stark colour contrasts: blue, pink, yellow and turquoise. This makes the work cheerful, provocative and absurd. The halo and the buffoon character hoisted onto a stool lend the image a ceremonial air, as if it were a well-known cultural icon. The silhouette also bears a resemblance to a totem pole out of an old comic strip.
The print was created around the height of the ‘MeToo’ initiative: a cultural wave of emancipation and participation that continues to raise awareness and expose abuse to this day. The visual elements are designed to evoke specific associations. The stool, the grumpy expression, the figure’s laughable appearance, the droplets of sperm flying everywhere, the absurd silhouette of a crucified martyr, the absence of testicles and the psychotic halftone pattern are all references to the scandals and their exposure.
Bad penis - Fine Art Print on watercolour paper 50 x 50 cm (2020) The print is part of the 'Iconsseries, which reflects on western cultural developments.
Features and specifications
Title: Bad penis
Year: 2020
Software: Illustrator
Process: Fine art print
Material: Watercolor paper
Dimensions: 50×50 cm -
Lick
Lick – Art print (2021) This is a lavish typographic art print in which letter art melts into pure colours, shapes and composition. Large angular shapes push against each other and completely fill the entire artwork.
In large, bold letters it reads: LICK YOUR. The rest is missing.
The colours are extremely saturated: blue, pink, yellow, green, orange and cyan clash fiercely with one another, just like everything else in this piece. As a result, the work possesses a rowdy and bold energy that is aggressively thrown into space.
Lick – Inkjet print on acrylic, 100×100 cm (2021) Many of Ingmar’s typographic works border on abstract art. Printed as an inkjet on acrylic measuring 100×100 cm, this piece has the intensity of a digital image, yet as an object it possesses a glass-like fragility.
Features and specifications
Title: Lick
Year: 2021
Software: Illustrator
Process: Inkjet printing
Material: Acrylic plate
Dimensions: 100x100 cm -
Die Welt weint
Die Welt weint – Fine art print on watercolour paper, 50×50 cm (2019) Three locked towers in shades of pink, ochre and purple are suspended against an rolling background. The sky above the buildings is filled with blood-red clouds from which pink tears descend. The atmosphere of this print from the ‘Icons’ series is ceremonial and suffocating, despite the colourful palette that is so typical in Ingmar’s work.
This work is an icon of sorrow, in which grief lies hidden behind thick walls. It is a depiction of a great flood, the story of blood-red tears being shed by a god upon his failed work.
Features and specifications
Title: Die Welt weint
Year: 2019
Software: Illustrator
Process: Fine art print
Material: Watercolor paper
Dimensions: 50×50 cm -
LUL
LUL – inkjet print on acrylic – 40×40 cm (2021) Self Portrait. I was just joking, or so I thought. And then someone called me dickhead.
Features and specifications
Title: LUL
Year: 2021
Software: Illustrator
Process: Inkjet printing
Material: Acrylic plate
Dimensions: 40×40 cm -
Toberlone
Toberlone art print (2019) This piece from Ingmar’s typographic art series blurs the boundaries between lettering and abstract art. The writing is the starting point and carries the work’s meaning, and the end result is both formal and highly intuitive, verging on the abstract.
Toberlone inkjet print on acrylic, 80×80 cm (2019) Features and specifications
Title: Toberlone
Year: 2019
Software: Illustrator
Process: Inkjet printing
Material: Acrylic plate
Dimensions: 80×80 cm -
A Day at the Beach
A Day at the Beach – Art Print (2019)This loud print in neon colours is full of direct and indirect references. An elongated pink cartoon figure takes centre stage, with an enormous head, tight-closed eyes and a mouth full of sharp teeth. It hangs between two towers connected by an arched passageway that appears to refer to the Bridge of Sighs in Venice, and almost literally represents the gateway to Europe. In the background, the beach and sea are drawn as an angular bed of nails. Tiny fish with large blue eyes float through the image like passing bystanders.
This work is discomforting and harsh. The swollen head evokes associations with a body that has been submerged in water for too long. The scream, the neon colours and the rugged shapes make the image painful to look at. The sea is hostile, the building institutional, the fish unemotional. Their pupils are dark keyholes.
In the Icons verwijzen vissen meestal naar Christus, niet als religieuze figuur, maar als mens die verantwoording eist. Dit is waar de preciese aanklacht in dit werk zit: collectief weigeren we compassie toe te laten voor mensen die in gammele bootjes voor armoede, vervolging en oorlog op de vlucht slaan.
‘On Cruelty' is another of Ingmar’s works that reflects on collective cruelty.
A day at the beach – Fine art print on watercolour paper, 50×50 cm (2019) This work has been published in various editions. These include a large inkjet print on vinyl measuring 150×150 cm and a fine art print on watercolour paper measuring 50×50 cm.
Features and specifications
Title: A Day at the Beach
Year: 2019
Software: Illustrator
Process: Fine art print
Material: Watercolor paper
Dimensions: 50×50 cm -
Yellow (Down)
Fine art print on watercolour paper (2020) This guy gave me a brownie.
This work is part of a small series of portraits on angst and confusion.
Features and specifications
Title: Yellow (Down)
Year: 2020
Software: Illustrator
Process: Fine art print
Material: Watercolor paper
Dimensions: 30x30 cm -
Red
‘Red’ – art print (2019) The contorted features, wide-eyed panic, and sharp teeth make for a fearful, tormented face.
‘Red’ – Fine art print on watercolour paper, 30×30 cm (2019) This work is part of a small series of portraits on angst and confusion.
Features and specifications
Title: Red
Year: 2019
Software: Illustrator
Process: Fine art print
Material: Watercolor paper
Dimensions: 30x30 cm -
Green
Fine art print op aquarelpapier 30 30 cm (2019) On my way to the supermarket, I passed a group of teenagers, aged 14–15. Last in the group was a boy whose expression seemed to be suspended somewhere between surprise and disappointment.
Fine art print op aquarelpapier 30×30 cm (2019) This work is part of a small series of portraits on angst and confusion.
Features and specifications
Title: Green
Year: 2019
Software: Illustrator
Process: Fine art print
Material: Watercolor paper
Dimensions: 30x30 cm -
Blue
Blue – art print (2019) On my way to the gym in my home town, I pass an elderly man accompanied by a young woman. As I cycle by, I recognise something flickering across his face, caught between surprise and confusion.
Blue – Fine art print on watercolor paper, 30×30 cm (2019) This work is part of a small series of portraits on angst and confusion.
Features and specifications
Title: Blue
Year: 2019
Software: Illustrator
Process: Fine art print
Material: Watercolor paper
Dimensions: 30x30 cm -
Denkmal für die inoffiziellen Mitarbeiter
Denkmal für die inoffiziellen Mitarbeiter – art print (2019) This is Ingmar's first typographic artwork in which he fuses letter art and abstraction. It stands out in its simplicity: on a bright yellow background, a black letter ‘i’ sits on the left and a bright red ‘M’ on the right. Both letters lean outwards, revealing a razor-sharp yellow hammer in the gap between, splitting the image in two.
The contrasts in red, yellow and black, and the lines, are sharp and modernist. The choice of metal as the medium, combined with the reflective high-gloss finish, results in a dominant and forceful presence.
‘Denkmal für die inoffiziellen Mitarbeiter’ is a monument to the ‘unofficial collaborators’ of the Stasi regime in the former German Democratic Republic– a network of volunteer informers. These collaborators were ordinary people: neighbours, colleagues, or even one of your own children. The monument serves as a reminder of a politicised society and is, as such, eerily timeless.
Sublimation print on aluminium – 80×80 cm The visual language references 20th-century constructivist and propagandistic designs, but is now used here as a contemporary monument. This is not just an abstract composition, but a monumental, politically charged icon.
This monumental typographic work is not Ingmar’s only one; he also created a second one: ‘Weight, monument for Comma Seperated Values‘.
Features and specifications
Title: Denkmal für die inoffiziellen Mitarbeiter
Year: 2019
Software: SVG code
Process: Sublimation printing
Material: Aluminium
Dimensions: 80×80 cm
About Ingmar Spit
Ingmar is an artist and printmaker from Almere. He creates art prints and small objects, which he designs on computers. Almost all of his work ends up in physical form: fine art prints, sublimation prints, inkjet prints and 3D prints. A small number of projects remain on screen or are published on the internet.
In his work, he blends abstract art, figurative art, pop art and typography. He uses Affinity Designer, Illustrator, Plasticity and Blender for his projects, and writes SVG code in Notepad++. His visual language blends influences from graphic design with independent art. Ingmar is curious about language and technology, and explores modern social and philosophical questions related to identity and society. Through his use of colour and humour, he succeeds in expressing these themes in an endeering way.
You can find more information on 'About Ingmar‘.
Contact
Interested in an artwork, an exhibition or a collaboration? Ingmar can be reached via email at ingmar@bzzrt.com.