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‘Tumbling’
acrylic, adhesive tape,
resin on panel and glass
90 cm x 110 cm
2008
‘Albers’
acrylic, adhesive tape,
resin on panel and glass
44 cm x 51 cm
2009
‘Wallace’
acrylic, adhesive tape,
resin on panel and glass,
29 cm x 32 cm
2009
‘Wallace’
acrylic, resin,
glass on wood
52 cm x 42 cm
2010
‘Conroy 1′
acrylic, adhesive tape,
resin on panel and glass
110 cm x 140 cm
2009
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It’s like standing with your nose against the wall. You can see the wall, yet at the same time you can’t. You can see its colour, its structure, but the wall itself remains hidden. This brings to mind another situation: it’s possible to focus so hard on something, that you no longer know what you are focusing on, the image in your mind does not become clearer, rather it tends to become blurred. It’s like when you concentrate very hard on a particular thought, and as a result you lose it, like it detaches itself from you. Actually, blurriness need not be the contrary of clarity: it can also be an extension of clarity an emphatic clarity that results from a consequent form of thinking that causes the clarity to evaporate.
A similar structure underlies the art of Stefan Annerel (b. 1970). Annerel isolates motifs he borrows from everyday images (advertisement photographs, patterns of textiles) and blows them up to such a size that they are no longer recognisable. Or rather: to such a size that they just become unrecognisable, because looking at these images amounts to balancing between seeing and not seeing, to anticipating the slight shock of sudden recognition, which, however, usually does not follow but only just. Annerel’s images are like words that are on the tip of one’s tongue. And there they stay, eluding us. It’s like being almost happy, because we almost overcome a failing memory. [Artists Bio]
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