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Category: Banners

In de serie Banners vormen typografie, abstractie en kleur de basis voor werk dat roots heeft in geschiedenis en sociale filosofie.

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

1 September 2025
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

19 July 2025
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

26 March 2025
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

14 March 2025
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

18 February 2025
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

14 February 2025
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

2 February 2025