Thomas Bang

Thomas Bang’s distinctive visual language revolves around the lozenge shape, a form that has been central to his practice since the mid-1960s. This geometric figure reappears throughout his drawings, sculptures, and installations – serving as both a visual and conceptual anchor.

The series Topographical Reflections (2012), featured on these stamps, stems from Bang’s interest in Egyptian funerary portraits from the Roman period (1st–2nd century AD). These realistic faces – painted on wooden panels shaped like lozenges – appear in Bang’s renderings as isolated, fragmented, and disrupted images, detached from their original context.

This dislocation, dissolution, and near disintegration of the image over time provides the thematic and visual foundation for the series. It reflects on the tension between past and present, on the fragility of images, and their lingering resonance.

The internal structure and composition of the drawings also relate to the installation Seven attempts to create adequate apparatus for ordinary families. Attempt No. 1 (2008), held in the collection of the National Gallery of Denmark (Statens Museum for Kunst), Copenhagen.

Thomas Bang’s Artstamps function as poetic miniature works – both visually and conceptually – opening a space for deeper reflection on the image as representation, artifact, and imprint across time and space.