Superdolls
The fascinating photos by German photographer, filmmaker, designer andmedia entrepreneur Peter W. Czernich set international standards andalso influence depictions of the female body in productions in the established arts and in the fashion industry. The usually large-breasted goddesses of his fetish universe are erotic objects of desire that are repeatedly reborn through creativity and the pleasure of playing with the imagination. Hyper-realism, extreme poses, the desire to experiment,cool pathos and gigantic breasts characterize his fantastic stagings – Generation Superdolls!
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Presscomments
Czernich's photos transport their viewer into a bizarre and beguiling world inhabited by the millennium generation. Like rococo dolls come alive, these images are perfect illusions, uncompromisingly digitized, with razor-sharp contrasts, both visually and thematically.(A&A
– DIE ZEITUNG FÜR KUNST – KULTUR – DESIGN, Deutschland)
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"Czernich's 'Dolls' are the fruits of a creative
imagination that seems to know no bounds."
Le Journal de la Haute Marne
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"XXL - exaggerated femininity and gigantic breasts,
staged in artificial worlds and accompanied by a hefty dose of eroticism."
Playboy
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"Stark contrasts and surreal scenes with mostly big-breasted
women are the preferred elements in his pictures. The eroticism is convincing
in these atmospheric photos."
Laufmasche
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"Peter W. Czernich whisks us away to a fascinating
world of eroticism and fashion. He has primarily chosen women with especially
large breasts for his artful stagings. The results are impressive."
Union
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"Women who present themselves to men's gazes like
living dolls, photographed by Peter W. Czernich, who loves the smooth shimmer
of lacquer, rubber, and leather."
Märkische Allgemeine
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"Busty models in revealing lacquer and leather outfits.
This is not for people with weak nerves."
Photographie
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Preface of the book
SHEDDING IMAGINATION´S SKIN
"The passion of illusion is even stronger than
sex and happiness. Repeatedly seductive ..."
Jean Baudrillard
Dolls. Little girls love to play with them. Collec-tors
pay high prices for them. As if by magic, a lifelike three-dimensional representation
seems to come alive when a human eye catches sight of it. Sculptural imitations
of real human beings undoubtedly posses magical or animistic potency. Deaf
to the protests of logic and reason, our eye all too readily yields to the
seductive contradiction of a dead yet en-souled object. An anthropomorphic
image instantly incites this playful visual vacillation between reason and
imagination the mo-ment our psychological process of perception is activated.
Artificial humans have radiated a tremendous attractive power for many centuries
and in nearly every culture. Prehistoric cult figures, the statues of classical
antiquity, effigies crafted from wood, wax or stone since the Middle Ages,
lifelike anatomical models since the Renaissance, 18th-century automata, children’s
dolls, shop-window mannequins, androids, andreids, and mummified cadavers:
the list of scientifically and artistically motivated human creations goes
on and on. Man is a creative god who creates himself in a perpetual quest
for the consummately error-free image.
God is male. And he’s always striving to create the perfect artificial
female figure, whose body he assembles from her most beautiful component parts.
Could any medium be more suitable than photography for conveying the erotic
presence of immaculate feminine physicality?
Wholly artificial worlds of convincingly arranged eroticism are the oeuvre
of the German photographer, filmmaker, designer and media entrepreneur Peter
W. Czernich. Now we finally know the source from which star photographers
and prominent fashion designers have occasionally drawn their inspirations.
Czernich studied graphic design and worked as an art director at an advertising
agency in New York. He’s currently editor-in-chief and publisher of
“Marquis,” the world’s leading fetish magazine. Hyperrealism,
extreme poses, the pleasure of experimentation, and cool pathos character-ize
his fantastic stagings of female creatures. Welcome to the Superdoll Generation!
Superdolls unmistakably shows the influences of Surrealism and the artistic
avant-garde of the 20th century. These include: the photo parade of the 1938
International Surrealism Exhibition with mannequin conceptual art by Dalí,
Arp, Max Ernst, Duchamp, Tanguy, André Masson and others; pictorial
compositions by Man Ray; and above all various creations from the hermetic
microcosms of Hans Bellmer (1930s) and Pierre Molinier (1960s). In accord
with his active imagination, Bellmer assembled bodies from pieces of dolls
and Molinier integrated himself into his artworks as a physical component
of indefinable gender.
Some pictures from the world of Superdolls allude to the aesthetic refinement
and exquisite luxury of Art Deco or the mannered poses of the models in Tamara
de Lempicka’s paintings from the 1920s. We can find echoes of the pinup
culture and perceptual tastes of the 1950s, as well as references to the boudoir
and the aristocratic salon. It seems nearly certain that the current productions
of the media and fashion industry have borrowed from Czernich’s fetish
themes rather than vice versa: Lara Croft in her neoprene catsuit, Matrix
outfits, rubber creations by Dior, bondage shoes by Galliano, fetish designs
by Gucci or Prada. But Peter W. Czernich keeps his cool: “We fetishists
are constant. We have certain ideal notions that simply cannot be topped.
A corset is a corset. A high-heeled shoe must look just so. And a catsuit
will always be a catsuit. This makes us independ-ent from fashions.”
Peter W. Czernich’s treasure-trove of fetish fantasies appears to be
inexhaustible, as do his visual ideas, the creativity and diversity of his
designs and compositions, and his urge to give form. Every photo in Superdolls
is technically perfect and brilliantly staged. The artist’s imagination
alone decides how much effort needs to be invested in the process of project-ing
a fantasy out of the mind’s eye and into the external world. There’s
no shortage of sarcasm and humor, and there’s plenty of dra-matic playfulness,
exaggerating poses and pure eroticism. Czernich’s models present more
than merely one-dimensional images of female superbodies: viewers who lose
themselves in beholding these photos experience the stimulating interplay
of perception on the surfaces of the skin – latex, patent leather, and
genuine epidermis. Here’s the ultimate seduction and the perfect illusion.
And the contrasts, both visually and thematically, are razor-sharp. Superdolls
is Peter W. Czernich’s first full-feature iconography. His work not
only sets international standards in the fetish genre, it also influences
the ways in which the estab-lished arts depict the female body. Czernich’s
unmistakably unique visual language, as well as his masterful control of the
photographic medium, are impossible to overlook. These pictures allude to
avant-garde photography, but they go far beyond it: they stand in the midst
of the present, in the third millennium. The goddesses of this fetish universe
are erotic objects of desire who are reborn, time and time again, through
creativity and the playfulness of the imagination.
