Super Future Kid

Embodying millennial nostalgia with a trippy new take on classic Pop Art codes.

super future kid sitting on a small yellow stool alongside two painted swords and a painting in the shape of a flower, resting her head on her hand
detail of artist's hand using a paintbrush to fill in sections of a small figure on a large colourful canvas
close-up of a section of a cowboy painting with paint splattered on the wall behind it and a frog hanging alongside it
7 images

Super Future Kid, real name Steffi Homa, was born in East Berlin in 1981, 9 years before Germany’s reunification. She now lives and works in London.

Achievements

A recent show Two for Me, None for You at Mindy Solomon Gallery in Miami was dubbed "one of this year’s most immersive outings" by ARTNET.

Did you know?

The name Super Future Kid relates to the artist's self-identitification as a 'professional child.' In her own words, “even when I’m 120 years old one day, I’ll still be Super Future Kid!”.

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Practice overview

Projecting her boundless imagination into painting, sculpture and installation, Super Future Kid combines technicolour hues and cartoon-like imagery with surreal compositions that play with depth and perception. The textures in her paintings are smooth and glossy, often evoking a digital rendering despite being created by hand with spray paint and acrylic; while her sculptures have a DIY aesthetic where colourful personified forms - made with concrete and papier-mâché - are stacked into poles like a collection of real-world emojis. Born in East Germany during communism, the artist attests her love of candy-coated aesthetics to the excitement of encountering Western consumerism for the first time after the Berlin Wall fell. This nostalgia for childhood in the 80s and 90s manifests in an abundance of pop-culture references pulled from video games, music, the early internet and iconic children’s toys.

Figuration is at the core of Super Future Kid’s practice. In contrast to the wacky, fantasy-worlds she creates, her figures capture the normalcy of human experience through their casual poses and relatable pastimes. Goldilocks (2018) depicts a muscly, pink woman in a neon green bikini lifting a large barbell weight. Behind her is a mauve sky decorated with fluffy lilac clouds, and three slightly droopy flowers grow at her feet. Made up of scribbly mark-marking reminiscent of a child’s drawing on Microsoft Paint, and humorously riffing on its fairytale title, the work reimagines archetypes of female strength in a way that is both ordinary and absurd.

The physical and virtual merge in Super Future Kid’s work. This is, no doubt, a result of being a millennial: the last generation to know the world before and after the internet. Whether the dawn of MSN and MySpace or the martian-like beep of a dial-up internet connection, the work of Super Future Kid takes us back to a time when the internet was an event rather than an inescapable fact of life. However, at the same time as recalling the past, her work repurposes motifs from today’s popular culture. Thus, Super Future Kid resists any particular notion of then and now, material and digital, and instead amalgamates them all into a separate universe centred on fun, play and imagination.

"I think none of what I make would exist if it weren't for digital culture."Super Future Kid