Bigindicator

Stefan Annerel

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20130728184734-thistlestefanannerel
THISTLE, 2013 Acrylic and Resin on Glass and Wood 140 X 110cm © courtesy Geukens & De Vil Gallery, Antwerp / Knokke
20130728185016-tyronestefanannerel
TYRONE, 2013 Acrylic and Resin on Glass and Wood 106 X 86 Cm © courtesy Geukens & De Vil Gallery, Antwerp / Knokke
20130302222813-dunedinstefanannerel
DUNEDIN, 2012 Acrylic Paint, Resin and Glass on Wood 106 X 86 Cm
20130728185907-portalstefanannnerel
PORTAL, 2013 Acrylic and Resin on Glass and Wood 106 X 86 Cm © courtesy Geukens & De Vil Gallery, Antwerp / Knokke
20130302224041-carlislestefanannerel
CARLISLE, 2012 Acrylic Paint, Resin and Glass on Wood 71 X 56 Cm
20130302223723-lavalstefanannerel
LAVAL, 2012 Acrylic Paint, Resin and Glass on Wood 106 X 86 Cm
20110914235159-columbastefanannerel
COLUMBA , 2011 Acrylic, Resin on Glass and Wood 106 X 86 Cm © courtesy Kusseneers Gallery, Antwerp
20110914234758-salvation_armystefanannerel
SALVATION ARMY, 2011 Acrylic, Resin on Glass on Wood 106 X 86 Cm © courtesy Kusseneers Gallery
20110914233832-mowatstefanannerel
MOWAT, 2011 Acrylic, Resin on Glass and Wood 106 X 86 Cm © courtesy Kusseneers Gallery, Antwerp
20110911140742-stefan_annerel_kusseneers_gallery
Exhibition view, 2011 © Kusseneers gallery
20110108101509-old_stuartstefanannerel
OLD STUART, 2010 Acrylic, Resin and Glass on Wood 140 X 110 Cm © courtesy Locuslux gallery, Amsterdam
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Studio artist, December 2010
20110108102350-kildarestefanannerel
KILDAIRE, 2010 Acrylic, Resin and Glass on Wood, 52 X 42 Cm
Porcupine_stefan_annerel
PORCUPINE II, 2009 Acryl and Resin on Panel and Glass 140 X 110 Cm © Kusseneers gallery
Tartans7415
Artist Studio december 2008
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COUNTERCHANGE, 2008 Acrylic, Adhesive Tape, Resin on Panel and Glass 110 X 90 Cm © Courtesy Kusseneers gallery, Antwerp
Sixties
SIXTIES, 2008 Acrylic, Adhesive Tape, Resin on Panel and Glas, 90 X 70 Cm © Galerie Kusseneers, Antwerp
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TERENCE, 2008 Acrylic, Adhesive Tape, Resin on Panel and Glass 111 X 91 Cm © gallery Smits,
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MARBLE, 2008 Adhesive Tape, Resin on Panel and Glass, 140 X 110 Cm © courtesy Kusseneers gallery, Antwerp
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RAEBURN, 2008 Acrylic , Resin on Glass and Wood 110 X 90 Cm © courtesy Kusseneers gallery, Antwerp
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RIBBONS, 2008 Acrylic, Adhesive Tape, Resin on Panel and Glass 140 X 110 Cm © courtessy Galerie Kusseneers, Antwerp
Pannus_stefan_annerel
PANNUS, 2008 Acrylic, Resin on Wood and Glass 77 X 56 Cm © Gallery c. de vos, Aalst ( belgium)
Tartans7501
studio artist, Antwerp 2008
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BAJETA, 2008 Acrylic, Adhesive Tape, Resin on Panel and Glass 140 X 110 Cm © courtesy Kusseneers Gallery
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installation view' Handmade, Brussels, 2008 Actionfields Temporary Art Gallery
An_1
installation view Tartans, 30/01/2009 - 14/03/2009
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Installation view " TARTANS", 30/01/09 - 14/03/09
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RAEBURN, 2008 Acrylic, Adhesive Tape, Resin on Panel and Glas 26 X 21 Cm © courtesy Kusseneers gallery, Antwerp
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COUNTERCHANGE III, 2008 Acrylic, Adhesive Tape, Resin on Panel and Glass 110 X 90 Cm
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Installation view" TARTANS", 30/01/2009 -14/03/2009
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WALLACE, 2008 Acrylic, Adhesive Tape, Resin on Panel and Glass 58 X 47,5
Spensstefanannerel
SPENS, 2007 2008, Acrylic, Adhesive Tape, Resin on Wood, 110 X 90 Cm 67 X 57 Cm
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installation view" Tartans"
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BRODIE, 2009 Acrylic, Adhesive Tape, Resin on Panel and Glass 120 X 90 Cm © Kusseneers gallery
Porcupine_stefan_annerel
PORCUPINE II, 2009 Acrylic, Adhesive Tape, Resin on Panel and Glass 140 X 110 Cm © Kusseneers Gallery
Conroy_i
CONROY I, 2009 Acryl and Resin on Panel and Glass, 140 X 110 Cm © Kusseneers gallery,
Weirstefanannerel
WEIR, 2009 Acryl and Resin on Panel and Glass 40 X 30 Cm © Kusseneers gallery
Spens_stefan_annerel
SPENS, 2008 Acryl and Resin on Panel and Glass 73 X 59 Cm © Kusseneers gallery
Varvara_stefan_annerel
VARVARA, 2009 Acrylic, Adhesive Tape, Resin on Panel and Glass 120 X 90 Cm © courtesy Kusseneers Gallery
Bajeta09stefanannerel
BAJETA, 2009 Acrylic, Adhesive Tape, Resin on Panel and Glass 140 X 110 Cm © courtesy Kusseneers Gallery, Antwerp
Catalanstefanannerelii
CATALAN, 2009 Acrylic, Adhesive Tape, Resin on Panel and Glass 116 X 92 Cm © courtesy Kusseneers Gallery, Antwerp
Bermudastefanannerel
BERMUDA, 2009 Acrylic, Adhesive Tape, Resin on Panel and Glass 28 X 22 Cm © courtesy Kusseneers Gallery, Antwerp
Salmonstefanannerel
SALMON, 2009 Acrylic, Adhesive Tape, Resin on Panel and Glass 94 X 64 Cm © courtesy Kusseneers Gallery, Antwerp
Lennoxstefanannerel
LENNOX, 2009 Acrylic, Adhesive Tape, Resin on Panel and Glass 18 X 13 Cm © courtesy Kusseneers Gallery, Antwerp
Sikhstefanannerel
SIKH I, 2009 24 X 18 Acrylic, Adhesive Tape, Resin on Panel and Glass © courtesy Kusseneers Gallery, Antwerp
Orientaldelight09stefanannerel
ORIENTAL DELIGHT, 2009 Acrylic, Adhesive Tape, Resin on Panel and Glass 140 X 110 Cm © kusseneers gallery, Antwerp
Wenyssstefanannerel
WENYSS, 2008 Acrylic, Resin on Panel and Glass 36 X 29 Cm © Kusseneers gallery
Sikhstefanannerel
SIKH, 2009 Acrylic, Adhesive Tape, Resin on Panel and Glass 24 X 18 Cm
Raeburn09stefanannerel
RAEBURN, 2009 Acrylic, Adhesive Tape, Resin on Panel and Glass 37 X 27 Cm
Bajeta09stefanannerel
BAJETA, 2009 Acrylic, Adhesive Tape, Resin on Panel and Glass 140 X 110 Cm
Bermudastefanannerel
BERMUDA, 2009 Acrylic, Adhesive Tape, Resin on Panel and Glass 28 X 22 Cm © courtesy Kusseneers Gallery, Antwerp
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installation view CONTERCHANGE, 2010
20101202020854-romastefanannerel
ROMA, 2008 Acrylic, Resin and Glass on Wood 112,5 X 90,5 Cm © Locuslux gallery, Amsterdam
20101202022102-porcupine_ii_stefanannerel
PORCUPINE, 2009 Acrylic, Resin and Glass on Wood 140 X 110 Cm
20110106085822-jacobitestefanannerel
JOCOBITE, 2010 Acrylic, Resin and Glass on Wood 106 X 86cm © Courtesy LOCUSLUX gallery
20110108101858-weirstefanannerel
WEIR, 2010 Acrylic, Resin and Glass on Wood, 106 X 86 Cm
20110108102141-stefan_annerel_brodie
BRODIE, 2009 Acrylic, Resin and Glass on Wood, 106 X 86cm 126 X 91 Cm
Maquettes_2006_2007_006
maquette ' Celtic FC, 2006 Acrylic, Adhesive Tape, Resin on Panel and Glass
20110224064939-raeburnstefanannerel
RAEBURN, 2010 Acrylic, Resin and Glass on Wood 52 X 42 Cm © courtesy Locuslux Gallery
20110718021347-confluence___consequence_1
Studio Antwerp, 2011 © Kusseneers gallery
20110302141306-varvarastefanannerel
VARVARA, 2010 Acrylic, Resin and Glass on Wood 106 X 86 © courtesy Kusseneers gallery
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Quick Facts
Birthplace
Dendermonde ( Belgium)
Birth year
1970
Lives in
ANTWERP ( Belgium)
Works in
ANTWERP( Belgium)
Tags
abstract
Statement
  

 It's like standing with your nose against the wall. You can see the wall, yet at the same time you can't. You can see its colour, its structure, but the wall itself remains hidden. This brings to mind another situation: it's possible to focus so hard on something, that you no longer know what you are focussing on-the image in your mind does not become clearer, rather it tends to become blurred. It's like when you concentrate very hard on a particular thought, and as a result you lose it, like it detaches itself from you. Actually, blurriness need not be the contrary of clarity: it can also be an extension of clarity-an emphatic clarity that results from an utterly consequent form of thinking that causes the clarity to evaporate.

A similar structure underlies the art of Stefan Annerel (b. 1970). Annerel isolates motifs he borrows from everyday images (advertisement photographs, patterns of textiles,... i.e. all sorts of images trouvées) and blows them up to such a size that they are no longer recognisable. Or rather: to such a size that they just become unrecognisable, because looking at these images amounts to balancing between seeing and not seeing, to anticipating the slight shock of sudden recognition, which, however, usually does not follow-but only just. Annerel's images are like words that are on the tip of one's tongue. And there they stay, eluding us. It's like being almost happy, because we almost overcome a failing memory.

But in Annerel's game of knowing and recognizing, the stakes are much higher. The fundamental issue in this instance, is how art relates to reality-how the image relates to the object that is being depicted. It's about the illusion that causes fiction and reality to merge seamlessly.

There are, however, two types of illusions. There is the illusion that relates to reality: the trompe l'œil, the illusion which deceives the senses and which makes it possible for a work of art (say, a painting) to claim to be something real instead of something artificial. A landscape painting pretends to be a landscape, but actually it merely consists of pigments on canvas. An abstractly formulated idea is not the idea, but its expression.
Annerel is only indirectly preoccupied with this sort of illusion. But at the heart of his work, there is a strange paradox that is indeed important: the more something resembles reality, the greater the illusion; the more successful the work emulates reality, the more successful its artificiality-i.e. the more it distinguishes itself from reality. Like you want to look at a wall from a short distance.

An illusion that belongs to the second category does something with this paradox. It is an illusion that not only relates to reality, but also to itself, to its deceptive qualities. Self-conscious, it refers to the tense relation between that which seems to be and that which really is. It glosses itself as illusion. And Annerel's illusions precisely belong to this category. Their deceptiveness does not simply reside in their pretending to be something they are not-it is total.

Annerel's works present themselves as shiny and transparent, but actually they are cunning and shrewd. They pose as abstract works of art; their link with reality, which is founded on illusions, therefore seems less strong-and consequently less problematic. Actually, the works are blow-ups of details from reality. (Annerel's use of the diminutive term "scale-models" to refer to his work is yet another form of deception.) Though this move may seem to bring the work closer to reality, it is neutralized by yet another strategy: by borrowing his motifs from existing images and photographs, the artist creates a sort of in-between level-an extra step that once more distances the work from reality. In this way, art and reality are engaged in a constant play of attraction and repulsion, a game that is even intensified by our hesitating between recognition (the belief in the illusion of that which is depicted) and near recognition (i.e. the recognition of the material art work as such).

The element of craftsmanship is equally important. Annerel carefully constructs his works: he copies the motifs with paint and tape, which he applies in various layers on the canvas, with layers of transparent resin between them. In this way, he creates depth-not an illusory depth that results from line or colour perspective, but a real, almost tangible depth. Yet once more we are immediately confronted with the question what is true and what is illusion, as the smoothly polished finishing layer strips them of their tactility and thus negates their depth. In other words, the traditional pictorial illusion is reversed: whereas the ordinary figurative painting is essentially two-dimensional but tries to create an illusion of three-dimensionality, these works bring about the opposite effect-the works have a real, literal depth, but create the illusion of being flat.

Annerel's entire oeuvre engages in this deceptive play of fact and fiction. Stripes of colour or small details seem be on top of other elements, but actually they are underneath. The question of what is true and what is fabricated thus no longer relates to reality, but to its representation-to the image itself. Other areas seem to be made with tape, but are actually colour fields that skilfully imitate tape: the artist no longer represents reality, but rather the material with which he creates his illusions. In this way, the illusion itself becomes the object of the illusion: deception deceived.

Sometimes the artist uses small, traditional works of art as a support: paintings, ceramics, even embroideries, which he tapes over and paints over, till his own images almost entirely cover the original. This is not a form of iconoclasm, but simply part of the same play: the reality that we view through these images-just as we view it through the illusion-does not turn out to be reality itself, but another fiction, another representation of reality.

Annerel's works never are what they seem and never seem what they are. The illusion we are confronted with, are not the usual illusions, but emulated illusions: they are visual double entendres that relate to themselves, glossy glosses that refer back to themselves.

Jan Dirk Baetens