![]() ![]() #ERIC FISCHL VGALLERY FULL#As the artist later recalled, “I started each painting with the same basic questions: Whose house is it? Are they married? Who are they? Is it an affair? Each scene was full of emotion and drama that left unresolved the questions that had inspired the scene.” A study of a relationship in a confined setting, each painting is a meditation on the distance that can exist between two people despite their physical proximity. #ERIC FISCHL VGALLERY SERIES#Describing a distinct and poignant existential drama, the series however leaves the details of the narrative tantalisingly undefined. Invariably aware of their partner’s presence, each protagonist of the Krefeld Project rarely turns to meet the other’s gaze. ![]() The objects I choose are essential to the piece.” Objects represent so many things: stability, happiness, affluence. It’s about anticipation of disappointment. I think that is very much the way I use objects. I’m aware that bananas and apples have sexual connotations, so I use them for that reason. As the artist explained, “A bowl of oranges isn’t necessarily a bowl of oranges, and I’m aware of that. The elongated yellow vase with lilies changes its location throughout the series, whilst two oranges positioned in the centre of the coffee table insinuate the sense of desire and erotic tension. ![]() Set in the sunroom of Haus Esters, several works highlight the intentionality with which Fischl selected and arranged props for the project. Two paintings foreground similar male figures suggesting the artist’s experimentation with the story line and the visual cadence of colour and form in the composition. Caught in white light and casting a sharp shadow, Fischl’s protagonist appears to inhabit a separate realm, her attention directed elsewhere, our sense of passing time transformed.Įxhibited for the first time, the series of painterly studies reveals Fischl’s iterative working process. Portraying her in profile, in the room featuring Mappa by Alighiero Boetti, the artist references the setting of Vermeer’s painting Woman Reading a Letter (1663). In Text (After Vermeer), the contrast of radiant sunshine with artificial light falling on the figure of the woman imbue her quiet contemplation with a sense of unease. Constructing each work from multiple photographic images, the artist manipulates light and gesture to create a specific mood, a narrative, influencing the viewer’s perception of the scene. Twelve works from the series were later exhibited in the rooms of the museum, staging a dialogue with the architecture and history of the building.įusing painting, photography, and collage, the Krefeld Project synthesises the storytelling devices which have been central to Fischl’s artistic language. With over two thousand photographs, Fischl modified and collaged images in Photoshop, composing the scenes for his paintings. For this body of work, Fischl re-furnished the house with iconic objects of art and design, hired two actors, and photographed them over two days as they enacted unscripted scenarios suggested by the artist. Now used as an exhibition space, the house is a former private residence designed by the renowned Bauhaus architect Mies van der Rohe in 1928. The project began as a collaboration with the Museum Haus Esters in Krefeld, Germany. ![]()
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