De Fine Art Prints vvan Ingmar Spit zijn vrolijk en kleurrijk. Van alle print technieken worden fine art print op traditionele materiaal geprint zoals ets- en aquarel papier. Tegelijk is deze techniek hyper modern en geavanceerd.
‘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.
Title: Self Portrait
Year: 2025
Software: Affinity Designer
Process: Fine art print
Material: Watercolor paper
Dimensions: 40x30 cm
‘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.”
Title: UNDO
Year: 2021
Software: Illustrator
Process: Fine art print
Material: Watercolor paper
Afmetingen: 160×40 cm
‘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.”
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‘.
Title: Fast Forward
Year: 2020
Software: Illustrator
Process: Fine art print
Material: Watercolor paper
Dimensions: 150×80 cm
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.
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.
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’ 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’ 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.
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’ 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.
The print is part of the 'Iconsseries, which reflects on western cultural developments.
Title: Bad penis
Year: 2020
Software: Illustrator
Process: Fine art print
Material: Watercolor paper
Dimensions: 50×50 cm
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.
Title: Die Welt weint
Year: 2019
Software: Illustrator
Process: Fine art print
Material: Watercolor paper
Dimensions: 50×50 cm
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.
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.
Title: A Day at the Beach
Year: 2019
Software: Illustrator
Process: Fine art print
Material: Watercolor paper
Dimensions: 50×50 cm
This guy gave me a brownie.
This work is part of a small series of portraits on angst and confusion.
Title: Yellow (Down)
Year: 2020
Software: Illustrator
Process: Fine art print
Material: Watercolor paper
Dimensions: 30x30 cm
The contorted features, wide-eyed panic, and sharp teeth make for a fearful, tormented face.
This work is part of a small series of portraits on angst and confusion.
Title: Red
Year: 2019
Software: Illustrator
Process: Fine art print
Material: Watercolor paper
Dimensions: 30x30 cm
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.
This work is part of a small series of portraits on angst and confusion.
Title: Green
Year: 2019
Software: Illustrator
Process: Fine art print
Material: Watercolor paper
Dimensions: 30x30 cm
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.
This work is part of a small series of portraits on angst and confusion.
Title: Blue
Year: 2019
Software: Illustrator
Process: Fine art print
Material: Watercolor paper
Dimensions: 30x30 cm