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Desire Painting (Alamy / Venice),
2018
David Renggli
Painting : oil, acrylic, Textiles, embroidery
114.5 x 87.5 x 6 cm 45.1 x 34.4 x 2.4 inch
$18,583
One of the last works available by this artist
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About the artwork
Type
Unique work
Signature
Hand-signed by artist
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Medium
Dimensions cm • inch
114.5 x 87.5 x 6 cm 45.1 x 34.4 x 2.4 inch Height x Width x Depth
Framing
Silver aluminium floater frame
Tags
Artwork sold in perfect condition
Artwork location: France
Silk-screen print on woven gunny fabric, acrylic on wood, aluminium frame.
The Floorplan Desire Paintings, mixing acrylic painting and screen printing, play on the illusionistic enlargement of the weft of the pictorial medium. Made by superimposing a burlap grid and a flat wooden surface, the confusion between planes through effects of trompe-l’oeil and optical illusion creates several levels of perceptual engagement. Through the registers of the painted forms and the nature of their spatial interconnection, reference to certain modernist pictorial and decorative archetypes like cubist paper cut-outs are amalgamated with spatial projection techniques that evoke principles of radical design, while taking their arbitrariness to the limit. The grid’s rough, impure materiality, recalling the coarse weave of a rug, creates a tension with its iconic status as an emblem of the optical purity of painting.
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The Floorplan Desire Paintings, mixing acrylic painting and screen printing, play on the illusionistic enlargement of the weft of the pictorial medium. Made by superimposing a burlap grid and a flat wooden surface, the confusion between planes through effects of trompe-l’oeil and optical illusion creates several levels of perceptual engagement. Through the registers of the painted forms and the nature of their spatial interconnection, reference to certain modernist pictorial and decorative archetypes like cubist paper cut-outs are amalgamated with spatial projection techniques that evoke principles of radical design, while taking their arbitrariness to the limit. The grid’s rough, impure materiality, recalling the coarse weave of a rug, creates a tension with its iconic status as an emblem of the optical purity of painting.
Discover more by the artist
Presentation
David Renggli's practice implies unbalance, and distills the doubt surrounding the permanence of the categories and styles that usually guarantee the validity of our perceptive framework. Fashioning a world populated by fakes, reflections, divided doubles, illusorily unsteady shapes, doctored memories, optical illusions that fool no one, tributes paid to the history of shapes and ideas and then quickly retracted, over the years this art has been capturing reality by means of its stand-in and has been poeticising the “fake".
Fake paintings, fake sculptures, fake photographs, fake objects, false equations—and yet, the artificial attains to something of an autonomous truth, or what could be called authenticity. Images that follow one another in an apparently offhand way seem to have no purpose beyond contradicting themselves. At the heart of this work, behind the sometimes accidental, incomplete and deeply absurd appearances of these assemblages, is the question of calculation, measure or logic: what principle is a work based on, what rule legitimises its presence in the exhibition?
These assemblages, both plausible and unreal, in which objects, references and citations proliferate, very often disconcert the viewer, tautologise doubt, reinforce everyday mystifications. David Renggli's works possess a kind of intrinsic fragility. They do not hide their own limits; they exhibit their faults and incoherence. This aporia of meaning very often unloads a dreamlike, melancholic burden.
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