All the references Peter Vahlefeld uses and paints over are media products that are circulated in order to draw attention to art events, exhibitions and fine art auctions. In the process of overpainting auction catalogues and gallery advertisements, the link between the circulation of the image and the expected circulation of as much money as possible becomes obvious. Almost all written information regarding the function and context of the images, such as captions, page numbers and gallery names remain visible. The printed materials are attacked with oil paint and appear as archaic manifestos. In the photo studio these overpaintings are re-photographed and illuminated - the impasto foreground vs. the slick surface of the background - and re-used as a base on which to paint, this time on canvas. In doing so, Vahlefeld utilizes the new possibilities granted by computer-aided image production techniques, and post-production to render and modify images as a continuation of the painting process. The media he uses are inkjet prints with pigmented inks in dialogue with acrylic and oil paints. Unlike on the computer, where the functional logic is based on described rules, the material itself becomes the topic as a sequence of actions. Using a brush, a squeegee, a roller, stencils, grinding tools and other mechanical aids, elements are destroyed or re-built until the mark making surprises or irritates.

Fiona Alison, Pricing the Priceless: Art, Artists and Economics; Opening reception with Peter Vahlefeld

The idea is simple: a few big investors put up money to help a money manager buy paintings


Les oeuvres de Vahlefeld valent presque comme le propres publicités, tant il est question de reproduction, multiplication, affichage, placardage.

Depuis cette exposition intitulée  "J´adore Cannes oder where´s my fuckin´Gucci Shoetree",  Vahlefeld a toujours revendiqué créer des "objets", non sans, dans son sillage, affoler les références et poncifs de l'art des 40 dernières années

»Prada is Dada«. If your brand is not selling, then your identity is worthless. Peter Vahlefeld, 46 Parachute Purple, New York'

'The wealthiest and most fashionable people have been made wealthier and more fashionable - by poorer people who pay to look at pictures of them'. Peter Vahlefeld (46 Parachute Purple, New York)

An Examination of Auction House Branding Strategies and Management, London: Peter Vahlefeld at Fiona Alison Gallery

Robert Lacey and Fiona Alison: Bidding for class, London: Opening reception, Peter Vahlefeld; Painting vs. Photography

Diary of an Art Dealer; Contracts between Art and Commerce; Peter Vahlefeld, 46 Parachute Purple, New York; How to promote art and get rich or die tryin`

Supercollector: A critique of the art market - An examination of the contemporary art market by Fiona Alison

Choosing an auction hammer by Fiona Alison; Exploring different ways branding is used in the art world, London; Paintings and photographs by Peter Vahlefeld...

Peter Vahlefeld hält sich zurück mit dem Nippes der Museumsshops. Keine Porzellantassen Andy Warhols, die zertrümmert werden, keine Goya-Aufkleber an Aktenordnern...

Peter Vahlefeld: »Ist das Silikon in Pamela Andersons Brüsten echt?«

Peter Vahlefeld: »Ist Erfolg mißglücktes Scheitern?«

Peter Vahlefeld: »Was stimmt nicht, wenn alles in Ordnung ist?«

Peter Vahlefeld: »Ist die Liebe zum Leben, wie die Angst vor dem Tod, nur ein Irrtum?«

Peter Vahlefeld: »Nichtstun« macht keinen Spaß, wenn man nichts zu tun hat.

Why does Peter Vahlefeld constructs such elaborate facades behind which he persists in living a lie? Why is the lie not his ideal, his image, his truth?

Peter Vahlefeld arbeitet gegen jede kritische Legitimität, er schändet sie um seinen Bildern den postfordistischen Imperativ der Geselligkeit auszutreiben.