In his new series, Andy Denzler examines the space in between the moments of empty space on the canvas surface, as a continuous exploration of what he does not see or what appears in the composition as a latent ambiguity.
Poetic, mysterious, oneiric. Opera Gallery welcomes you to Between the Shadows and invites you to explore this nostalgic voyage through Denzler's universe, where shadows and light play together on the canvas to offer an existential meditation.
His images are unpredictable and unlikely, but undoubtedly mysterious and enticing. They are scenes of reality, but the sense of unreality prevails in them.
Denzler's paintings have a unique palette of ochers, browns, blacks, flesh tones and grays, that make them readable and naturalistic images infused with energy.
“I am trying to get closer to reality and experiment with how to create an emotional connection between the viewer and the subject.”
“When I paint, I'm not trying to replicate what's in the photograph, it's something else, I try to paint what I don't see.”
“My intention is to work with time. Because the paint is drying fast on the canvas, and because I am working wet-on-wet, I have to paint against time as well. The appearance of two different layers on the painting shows, in a way, the past and the present, or fiction and reality.”
“My landscape compositions are usually invented, even my figures, which are based on photographs, are taking on new identities or even different characters appear.”
Andy Denzler is a Zürich-based artist. After studying at F&F Schule für Gestaltung Zürich and UCLA, he went on to train at Pasadena’s ArtCenter College of Design, followed by a Master of Fine Arts degree at the Chelsea College of Art and Design (now the Chelsea College of Arts) in London. Denzler’s approach is figurative, working large scale using oil on canvas. His method is to add dynamic new layers to the traditional art of capturing the figure using paint. Treating oil paint as if they were cinematic, his compositions are given an additional layer of dynamism and life through the sweeps and cuts Denzler makes on the surface before the paint is fully dry. These interventions reference the fast forward and paused distortion of a videotape head clamping down on a freeze frame, or the jagged interpolations of a digital glitch. The portraits become animated, as if stills from an imaginary film, with figures – often posed in diptychs and triptychs – set against fantastical or cinematic backdrops. Denzler has exhibited in galleries around the world, with recent shows in Geneva, New York, Seoul and Berlin. Denzler also uses juxtaposition, incorporating classical modes of composition and framing that are subtly undermined and subverted by his painting technique.