By Alexandra Balshøj

‘The sense of constant change and motion mixed together on a two -dimensional surface transforms to revoke the sensation of time. Also through this premise is the sense of place and space created. It is hard to place neither heads nor tails of what you are observing. 

 

At first glance, one experiences something almost architecturally stiff, which soon transforms into something very much organic or perhaps even entirely abstract.

 

Annette Gerlif’s art is a reminder that the world and its people are eternally in constant motion. We might as well go with the flow and accept that there does not always need to be a connection between what we see and what we recognize to be reality.’

 

 ‘The representation of perspective, and the rules regarding it, were originally developed and mastered during the Italian Renaissance. Amongst the first to pioneer these rules were Leon Battista Alberti and Filippo Brunelleschi.

 

Despite the sheer amount of years that have passed since these developments, Gerlif can be found to follow the exact same technical rules in her paintings, in the incorporation of space-creating lines. The concept of perception has not changed to this day.

 

Gerlif’s pictures do not seek to portray photographic realism by using perspective. She instead chooses to play around with the placing of geometric shapes, strong colours and optical illusions, manoeuvring them together on a canvas, or rather, around the canvas and onto the surrounding space.

 

Gerlif’s world is not necessarily confined within the four sides of a generic canvas. The edges of the canvas seem to work as boundaries made to be exceeded, to create new expression, movement and sensations. Her exhibitions are seldom restricted to merely containing standard wall paintings. The art seeps over the edges to include the entire room – walls, floor, ceiling and all the space in between.

 

She achieves this by painting on the tiles and letting the forms and colours continue out from the canvas, down and across the floor. Another example of this is when she hangs string or wire up between walls from which she suspends small drawings. This together, works to alter the viewer’s perception and spatial awareness, more so than that of the conventional hanging of a painting. Gerlif’s play-on-the-eyes is often created through a mixture of spacial lines, fresh and energetic colours as well as some added organic forms and elements.

 

The organic forms are represented and displayed in her use of translucent shading, giving the paintings a sense of vulnerability and creating a dream like feel. The dreamy experience almost diffuses the movement present in the paintings and is enhanced by the linear breaks, together creating the effect that your eyes can continue on infinitely within the painting.

 

The same technique completely revokes the viewer’s sense of place, creating something architecturally stiff and entirely abstract.

 

Annette Gerlif’s art is a reminder that the world and its people are eternally in constant motion. We might as well go with the flow and accept that there does not always need to be a connection between what we see and what we recognize to be reality.’

 

Aktuelt

Udstillinger 2018    

 

Kirsten Kjær Museum

11. august - 28. oktober 

UDVEJE

Kunstnergruppen 5STK

www.kkmuseum.dk