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Stefan Annerel

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The logic of pictorial make-belief is thus reversed. Annerel’s works are not two-dimensional images that pose as three-dimensional reality; they are, and do, the opposite: they have a real, literal depth, but create the illusion of being flat. Thus, the shiny, almost radiant transparency of these works’ top layer is just another trick: it is opacity cleverly posing as transparency
BALMORAL 2011, 52 x 42 cm
BALMORAL 2011, 52 x 42 cm
RAASAY 2011, 52 x 42 cm
RAASAY 2011, 52 x 42 cm
THISTLE 2011, 106 x 86 cm
THISTLE 2011, 106 x 86 cm
The whole of Annerel’s work engages in this deceptive play of fact and fiction. Bands and dots of colour or other small details seem to be on top of other elements, but are actually underneath. The question of what is real and what is not, is thus no longer a matter of distinguishing between reality and its representation: it has been integrated into the work of art itself and now relates to its own structure as art, not as a representation of nature. Still other parts of Annerel’s works, sometimes larger areas, seem to be made with tape or plastic foil, but are actually painted and only meticulously imitate the materiality of the other components these works are made of. The play of mimesis no longer concerns the reality around us, but the material of these works of art: this is not artifice posing as nature, but posing as other artifice.
This is where the artist’s elusive illusionism comes full circle. Here, illusionism is no longer concerned with the world outside, as seen in the mirror which a work of art is: illusionism now holds up a mirror to itself. Annerel’s illusions are no translucent passageways to nature; they are glossy glosses written in their own margins. They are not hearsay evidence of a world we once thought we knew: they are visual double entendres hopelessly trying to grasp the meaning of their own words.
They seem to penetrate into the very structure of the matter they depict, laid open for our eyes. In reality, however, they are based on fragments of images or photographs—on the immaterial flatness of almost microscopic pictures and not on the structural configuration of reality. Their analysis is, therefore, an analysis of the surface; their science is the science of deceit
VARVARRA 2010, 106 x 86 cm
VARVARRA 2010, 106 x 86 cm
Stefan Annerel
Antwerpen
Belgium
Europe

T: +32 0476 455001
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w: http://stefanannerel.com



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