For Henzel Studio, Anselm Reyle translated a work from his foil series into the media at hand. Silk has been applied to areas for added sheen that would otherwise provide reflection from the original material.
Anselm Reyle is considered one of the most pivotal artists of the 21st century. Unparalleled, he recycles and actualizes the formal accomplishments of Modernism, and subsequently reapplies them to constitute his own visual vocabulary. Using this language, he reexamines our aesthetic awareness and challenges us to question our assumptions and rationale as to the parameters of art in relation to history and its imprint in contemporary culture. By exploring the fringes of high art and pop culture, Reyle creates often visually spectacular works that simultaneously confront us with a conceptual nihilism, at times incorporating everyday material such as fluorescent paint, neon light, silver Mylar and effect lacquer, most of which are usually considered as suspect in the art world.
For his untitled foil works, the artist arranges silver foil on canvas intuitively, referring to the tradition of Abstract Expressionism. Reyle had picked up on the material some years ago in a Berlin store’s window display and directly forged links between the decorative material and the act of painting on canvas. The action of draping becomes the thematic focus of the paintings, while light is also incorporated as a sculpting element. Compared to his earlier all over foil works, the new pieces, one of which was the base for the Henzel rug, focus less on the painting’s surface allure, created by the ornamental all over pattern, but more on its composition. Foregrounding the lavish folds, the material itself is given priority.