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Jan Davidoff grew up in Germany and Canada. After completing high school, he studied painting at the Academy of Fine Arts in Munich under Anke Doberauer and Günther Förg, graduating in 2009 with a diploma under Günther Förg. Davidoff began exhibiting his work in numerous solo shows while still a student. In addition to participating in art fairs (including Art Cologne, Art Miami, Pulse New York, and Zurich), he has taken part in group exhibitions  such as the 2011 “Davidoff meets Polke” with Sigmar Polke, and the 2012 “Les Fleurs du Mal,” which featured artists such as Andy Warhol and Mel Ramos as well as solo exhibitions across Europe and the United States. Alongside collaborations with art associations (Kunsthalle Altötting, Kunstverein Diessen, Studio Rose Ammersee), his works can be found in museums both in Germany and abroad, including Villa Stuck in Munich, the Denver Art Museum, the Landschaftsmuseum Seligenstadt, and the Rosenhang Museum in Weilburg. Jan Davidoff lives and works in Munich and Schondorf am Ammersee.

Davidoff blurs the boundaries between figuration and abstraction. Total graphic reduction in black and white clearly emphasises the contrast between nature and culture, while abstractly lined up surfaces of the background suggest three-dimensionality to the viewer. The metal works in particular also use the instrument of fusion: the heterogeneously processed surfaces seek to play with the light so that the viewer perceives the depicted in a variety of ways through the reflection. The brightly coloured, contoured, almost woodcut-like paintings demonstrate the full range of vitality that nature and man can offer. Reflective surfaces, sometimes broken in on themselves, refer once again to the interplay, the antipodal nature of nature and culture. Davidoff perceives the world in his pictures as an organic cycle of creation and dissolution, the traces of which he depicts in his paintings. Like Anselm Kiefer or Günther Förg, Jan Davidoff often uses found objects from his environment in his works. For example, he uses patinated historical copper plates as well as industrial steel or glass alongside the canvas as a picture support. In this way, he creates the multi-layered pictures typical of the artist, in which the background and foreground seem to intertwine in many ways.

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