Paris, Vienna

by Julian Lietzmann

3 min readJun 4, 2021


Still from “Paris 1”

„I was sitting in my Studio in Paris in 2013. A glass of water in my left hand and a pencil in my right hand…”

Peter Jellitsch *1982 born in Austria. Studied at both the Academy of Fine Arts Vienna and the University of Applied Arts Vienna. His work has been shown in numerous exhibitions in the U.S. and Europe and is in collections such as the San Francisco Museum of Modern Art, Museum Moderner Kunst in Carinthia, Österreichisches Museum für angewandte Kunst (MAK) and the Graphische Sammlung der Akademie der bildenden Künste Wien. Jellitsch has been awarded several grants & prizes, including the Strabag Artaward (2014), Theodor Körner Prize (2014), Margarete Schütte-Lihotzky Fellowship (2013) and the Outstanding Artist Award of the Republic of Austria (2010). He received the CCA Andratx AiR (2018), the MAK-Schindler Fellowship, Los Angeles (2014), and fellowship residencies in Montpellier (2014), Paris (2014), and New York (2011). Since 2011, Jellitsch teaches at the Academy of Fine Arts Vienna.

Still from “Paris 2"

”…The glass moved over the drawing on the table. The optical transformation of the drawing, while the glass moved, mesmerized me…”

Jellitsch artworks typically show clear black lines and recurring patterns that, neatly organized within zones, find their place on the canvas. Only on closer look they reveal slight irregularities and expose the method of hand drawing, thus again building a bridge to man and the human body and/or the work he is able to execute with it. The inspiration for his motifs is mostly taken from the data emissions of his environment, i.e. from the visualizations of these — usually invisible — signals. Today, sound and radio wave scanners allow us to locate this information precisely, and with the help of software it is easy to display these on a map. Jellitsch’s work Data Drawings (2014) tells how this invisible information shapes the space that surrounds us, while also revealing the aesthetic quality of its topology. To capture the perspectives and shadows, Jellitsch always has been working with 3D programs. Days and Hours are spent moving digital bodies through space, chasing pseudo-suns across the pseudo-equator, and turning knobs to adjust the fine or coarse the mesh of the virtual networks… What is definitely not at issue here — and in none of Jellitsch’s works — is a scientific deduction of these phenomena and his representations, but rather the tangibility of hidden, non-haptic landscapes.

Still from “Paris 3”

“…In 2021, I opened the folder again.“

For portal, the artist provides us with three of his works, created during his time in Paris in 2013 and adapted here for the format of NFTs. In a short text (here readable between the lines — and best with a glass of water/wine in hand) Jellitsch describes how he then moved a glass of water over the drawings in front of a table, observing the optical distortion of his drawing. Like a child, he says, he let himself be entranced by the effect of the transformation, watched them bend under the crooked lens, and finally made a duplicate of this (apparently) magical instrument in the 3D program. The works Paris 1–3 now show excerpts of these animations, with a specially created sound design further enhancing the impression of plasticity. What was previously only to be admired as frozen movement in Jellitsch’s works is thus now extended by a dynamic dimension and presented publicly for the first time. We can’t hide our excitement in this case and look forward to the release as if it were a vaccination appointment.

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