Paint It Black III

This photographic base was shot in Cologne, Germany.

Printed on Fine Art Hahnemühle Hemp Natural Line 290 g/m2.

Each print comes signed and numbered. 

Unframed. With a small white border. Send in a tube.

Print size 90 x 75 cm - Edition of 10

Print size 60 x 50 cm - Edition of 10.

Print size 30 x 25 cm - Edition of 10.

Print size 10,5 x 14,8 cm (DIN A6) - Open Edition.

Where black tears tear apart the laughter of skin.

There are images that aren’t just artworks but dazzling, visual diaries, reminding you in strange ways of that one Tuesday when your roommate decided to fix the toaster—only to dismantle half the kitchen. That’s exactly how "Paint it Black III" by Thomas Haensgen feels: a chaotic blend of beauty, rebellion, and the discreet charm of destruction.

Nothing here is smooth or pleasing. The black paint streaks seem as though someone dialed gravity to "mildly defiant," while the modeling of the body captures a wild yet vulnerable energy. It’s this duality that makes the piece so intense—like a summer rainstorm that first annoys you, then soaks you, and finally leaves you dancing and laughing in a puddle.

A Wild Act of Defiance: The image speaks directly. It doesn’t whisper or scream—it’s more like the monotonous yet compelling sound of a washing machine out of rhythm. The protagonist sits upright, half defiant, half fragile, with hair in a kind of explosive chaos, reminiscent of the afterglow of an emotional storm.

The black paint traces the body with anarchic precision, as if Jackson Pollock had decided to paint on bodies instead of canvases—or perhaps, attack them. The paint feels heavy, almost sticky, as if it resists the laws of physics, yet paradoxically highlights the body’s contours with tenderness.

An Ode to Chaos: In the tradition of figurative painting and photography, Haensgen’s work could be seen as a radical update to Egon Schiele’s expressive studies of the human form. But while Schiele focused on the fragility of the body, Haensgen celebrates the power of imperfection—with a wink more akin to the Dadaists.

There are also parallels to the punk movement of the 1970s, particularly the visual language of Jamie Reid, whose work was similarly rooted in deliberate destruction. Haensgen’s piece, however, feels more personal, almost intimate, as if he isn’t just questioning society but urging the viewer to reassess their own relationship with the body and the concept of beauty.

Psychological Depths: Between Vulnerability and Strength. The photograph captures a universal moment—that second when you stand in front of the mirror and think, “Is this chaos my life, or am I just a guest in it?” The black paint becomes a metaphor for all that we hide and, at the same time, for what defines us.

The figure’s posture speaks volumes: a mix of defiance and resignation, reminiscent of the energy you have after a late-night, life-discussing conversation with friends—only to realize that no one has the answers. It’s the posture of someone who knows that beauty doesn’t lie in perfection but in scars, imperfections, and the black marks that write our stories.

"Paint it Black III" is not a simple photograph. It’s a battlefield of emotions, an ode to disorder, and a love letter to the freedom found in accepting chaos. It challenges the viewer to confront their imperfections and reminds us that true beauty often lies where we least expect it—like the stain on white bedsheets that eventually becomes part of their story.

With this work, Thomas Haensgen once again proves that art isn’t meant to explain but to feel. It’s like that moment when you hear an old song and suddenly burst into tears without fully knowing why. A piece that must not only be seen but lived.