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Almine Rech

Anselm Reyle

In the late 1990s, Anselm Reyle began to produce large-scale abstract paintings, found-objects sculptures, and installations with radiating neon colors. Exploring unconventional materials such as Mylar foil or mirrors, Reyle expands upon the prevailing aesthetics of painting and sculpture. With the help of assistants, each composition, whether a stripe painting or crumpled foil composition, can be made in any number of sizes, ranging in scale from the domestic to the monumental. Frequently utilizing motifs that have become trademarks of the modernist canon, Reyle reworks them to invest new meaning and context. “I’m interested in something that has the quality of being a cliché,” says Reyle, “I attempt to grasp the crux and to reinscribe it so that it really gets moving again.”[1]


[1] Jens Asthoff, ‘Anselm Reyle, White Earth’, 2008.

 

Selected artworks

  • Anselm Reyle,                                      Long After Midnight, 2017

    Anselm Reyle Long After Midnight, 2017

    Long After Midnight, 2017
    Glazed ceramics
    80 x 38 x 38 cm
    31 1/2 x 15 x 15 inches

  • Anselm Reyle,                                      Mothers of the sun, 2017

    Anselm Reyle Mothers of the sun, 2017

    Mothers of the sun, 2017
    Glazed ceramics
    79 x 39 x 39 cm
    31 1/8 x 15 3/8 x 15 3/8 inches

  • Anselm Reyle,                                      Untitled, 2008

    Anselm Reyle Untitled, 2008

    Mixed media on canvas, metal frame, lacquer
    80 x 69 cm

  • Anselm Reyle,                                      White Earth, 2009

    Anselm Reyle White Earth, 2009

    Mixed media on canvas, steel frame, effect lacquer
    148 x 127 cm (framed)

  • Anselm Reyle,                                      Untitled, 2008

    Anselm Reyle Untitled, 2008

    Mixed media on canvas, acrylic glass
    250 x 199 x 25 cm (framed)

Selected press