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Stefan Annerel
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Their deceptiveness does not lie in their pretending to be something they are not, but is total. The artist’s works present themselves as transparent and easy on the eye, but they are double-faced and can’t be trusted. They pose as abstract pieces, seemingly avoiding the problematic nature of figurative art’s elusive relationship with reality. In reality, however, they are fragments cut from reality, blown-up to such sizes that they become larger than life—too real to see and understand rather than not real enough.
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CORNWALL 2011, 52 x 42 cm
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KILLDARE 2011,52 x 42 cm
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RIBBONS 2008, 140 x 110cm
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The multiplicity of Annerel’s illusionism is also reflected in his working method. The artist carefully constructs his works: he copies his motifs with paint, paper, plastic or other materials, which he applies in various layers, each of them covered with a thin film of transparent resin. It makes work slow and cautious, and calls to mind the technique of glazing in traditional oil painting: the application of a number of thin, oily layers of colour on a canvas or a panel, which results in an almost perfect illusionism. Annerel’s layers of glaze, however, do the exact opposite: they are not concerned with illusionism, but with actuality. The depth they create is not illusory, but real and (almost) tangible: we sense the actual depth of the painting, as our vision is blocked by some of the layers and penetrates through others.
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Yet the impression of the traditional academic fini, created by the shiny, smoothly polished top layer, strips Annerel’s works of their tactility and thus negates their depth. Once more, we find ourselves, or rather imagine ourselves, looking at a perfect illusion—an invisible window that opens to another, perfectly re-created reality
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COLUMBA 2011, 106 x 86 cm
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