(born in Tübingen, Germany in 1970)
Untitled, 2006, signed, dated on the overlap Anselm Reyle 2006, mixed media (acrylic, foil) on canvas, 224 x 187 x 5 cm, on stretcher

Provenance:
Galerie Giti Nourbakhsch, Berlin

In Anselm Reyle’s work, everything is colour, form, surface and texture. The objet trouvé, an object removed from art, is directly incorporated into his work. With the foils that appear unconsciously shaped yet which were nevertheless consciously brought into form, Reyle places particular stimuli in which filigreed, twisted elements reflect the space around them. With the large-scale works, produced with the most diverse paints and therefore also with a great variation of degrees of sheen and outward appearance, Anselm Reyle is able to irritate the viewer in that he invalidates the familiar functions, and also the attributions to specific styles, of contemporary art.
The apparently unconsciously placed blobs which break through the rigour of the multi-coloured stripes have become Anselm Reyle’s trademark, which he has protected with a copyright. The origin of this signature feature was a blob of colour which accidentally fell on a work; Reyle viewed this as positive for the rigour of the picture.
“I’m making something dogmatic, but I also break this dogma. I work with the mistakes that I record and then stylize.” (ibid., p. 45)

Reyle’s works are confident in the view of the spectator, they are consciously non-political, and appear attractive, dramatic and elegant.

„Everything I make, all my artistic work, is based on something preexisting. Whether it’s foil I’ve found in a storefront window, or found images from recent art history, like with these stripe paintings.[...]
It can be anything. The basic idea comes from something that’s already there. The idea doesn’t come from me. I don’t search within myself, but rather happen upon something that gives me the idea for another step.“
Dirk Luckow (ed.), Anselm Reyle, Mystic Silver, Berlin 2012, p. 40

Provenance:
Gallery Giti Nourbakhsch, Berlin

In Anselm Reyle’s work, everything is colour, form, surface and texture. The objet trouvé, an object removed from art, is directly incorporated into his work. With the foils that appear unconsciously shaped yet which were nevertheless consciously brought into form, Reyle places particular stimuli in which filigreed, twisted elements reflect the space around them. With the large-scale works, produced with the most diverse paints and therefore also with a great variation of degrees of sheen and outward appearance, Anselm Reyle is able to irritate the viewer in that he invalidates the familiar functions, and also the attributions to specific styles, of contemporary art.
The apparently unconsciously placed blobs which break through the rigour of the multi-coloured stripes have become Anselm Reyle’s trademark, which he has protected with a copyright. The origin of this signature feature was a blob of colour which accidentally fell on a work; Reyle viewed this as positive for the rigour of the picture.
“I’m making something dogmatic, but I also break this dogma. I work with the mistakes that I record and then stylize.” (ibid., p. 45)

Reyle’s works are confident in the view of the spectator, they are consciously non-political, and appear attractive, dramatic and elegant.

„Everything I make, all my artistic work, is based on something preexisting. Whether it’s foil I’ve found in a storefront window, or found images from recent art history, like with these stripe paintings.[...]
It can be anything. The basic idea comes from something that’s already there. The idea doesn’t come from me. I don’t search within myself, but rather happen upon something that gives me the idea for another step.“
Dirk Luckow (ed.), Anselm Reyle, Mystic Silver, Berlin 2012, p. 40