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Jan van Eyck (c.1390–1441) revolutionized Northern Renaissance portraiture with his razor-sharp detail and fearless realism. His motto Als Ich Can (“as I/Eyck can”) was both a signature and a challenge. In this striking portrait, the sitter meets the viewer with a bold, unbroken stare, possibly Van Eyck himself, making it one of the first portraits in centuries to confront us head-on. The effect is electric: a gaze that cuts across time.
In The Phases series, Otto Lundbladh channels this intensity into the present. Where Van Eyck used paint to reveal a soul, Lundbladh uses photography to expose the shifting architecture of identity today. His reinterpretation turns that medieval stare into a modern pulse—an exploration of visibility, vulnerability, and the thrill of being truly seen.
Medium: Digital print on fine art paper
Size: 100 × 100cm
Edition: Edition of 150
Signature: Signed
Jan van Eyck (c.1390–1441) revolutionized Northern Renaissance portraiture with his razor-sharp detail and fearless realism. His motto Als Ich Can (“as I/Eyck can”) was both a signature and a challenge. In this striking portrait, the sitter meets the viewer with a bold, unbroken stare, possibly Van Eyck himself, making it one of the first portraits in centuries to confront us head-on. The effect is electric: a gaze that cuts across time.
In The Phases series, Otto Lundbladh channels this intensity into the present. Where Van Eyck used paint to reveal a soul, Lundbladh uses photography to expose the shifting architecture of identity today. His reinterpretation turns that medieval stare into a modern pulse—an exploration of visibility, vulnerability, and the thrill of being truly seen.
Medium: Digital print on fine art paper
Size: 100 × 100cm
Edition: Edition of 150
Signature: Signed