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Anne von Freyburg

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Light being, 2014 Mixed Medium 90 X 125 Cm © Anne von Freyburg
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DETAIL of light being
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Expanding, 2014 Mixed Media 90 X 215 Cm © Anne von Freyburg
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DETAIL of Expanding
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Intercourse, 2013 Mixed Media 90 X 235 Cm © Anne von Freyburg
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DETAIL of Intercourse
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Intransition, 2013 Mixed Media 80 X 220 Cm © Anne von Freyburg
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DETAIL Intransition
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Healing, 2013 Mixed Media 90 X 160 Cm © Anne von Freyburg
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Manifestation , 2012 Mixed Media 70 X 195 Cm © Anne von Freyburg
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Host, 2013 Mixed Medium 95 X 220 Cm © Anne von Freyburg
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DETAIL of Host
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Cleans, 2013 Mixed Media 93 X 190 Cm © Anne von Freyburg
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Antidote , 2013 Mixed Media 87 X 174 Cm © Anne von Freyburg
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Celebration , 2013 Mixed Media 95 X 120 Cm © Anne von Freyburg
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Source, 2012 Mixed Media 92 X 225 Cm © Anne von Freyburg
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DETAIL of Source
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Quick Facts
Birthplace
Velp
Birth year
1979
Lives in
London
Works in
London
Schools
ArtEZ Arnhem, 2001, BA
Goldsmiths, University of London
Representing galleries
Zerp Galerie Rotterdam
Statement

The recent works by Anne von Freyburg explore the operation and inscrutability of aesthetics. The life-size mixed media tableaux show human-like figures in various states of transformation. Following in the footsteps of Western Romanticism, Von Freyburg takes subjective experiences as a starting point for her work. At the same time, she deliberately chooses to apply cliché and symbolic imagery to fit within the context of the human body. The canvases distinguish themselves by certain rawness where organic textures of embroidery, textiles and crystals are combined with painting and drawing techniques. Playing upon the ambivalence between introspection and outward appearance intrusive images arise, reminding of common kitsch and raising questions about beauty as a kind of decoration.

The premise of the tableaux consists of photographic portraits of her own making. From a need to get behind and watch through the matter of the surface, Von Freyburg seeks to break en reinterpret the value of the traditional limited canvas. This fascination with the invisible and infinite human spirit manifests itself in the layered process of de- and reconstruction. The demeanours of the figures are derived from devoted religious and mythological sculptures and paintings from the eighteenth and nineteenth century. Physical traits are literally sanded in which parts of the fabric are completely lapsed. The resulting fragile and faded portraits are the starting point of an intrinsic reconstruction of the canvas.

 

Traditional aesthetics take shape in physical layers of manually applied needlework, Goblin tapestry fragments, crystals and academic painting methods. Several sections of sanded canvas and skin are adapted further, re-coated and frequently modified. In addition, forgotten but recognizable symbolic values of natural components; the growing twig, the bleeding rose and flowing waterfall, provide a multitude of interpretations. Besides a truly protective layer, the figures also seem to discharge and even perish. Once again one recalls the Romantic period where the sublime of moving nature was frequently chosen as a topic by artists. In the context of Von Freyburg, nature applies as an identifying fulcrum and irreversible fate. The stark figures can be seen as contemporary fossils where a multitude of ambivalent data call for contemplation on modern society and the power of aesthetics.