These instead just sorta flip-out, covering and masquerading a can-can, like a painting in slow state of clonic seizure, and gesticulation as cerebral-visual paradox, optical illusion, disguise. What Kelsey called Big Joy could also be a state of mania, or anxious outburst, like seeing your friend on amphetamines and wondering what about his personality you liked in the first place. Abstraction is the friend in this metaphor. Because these paintings are brutal. I keep coming back to their somehow relation to the FEED, to the anxious state of transitionary image, of scrolling. "painterly recognition that is particular, depleting, and manic." People love these and I could stop talking about them if someone would write that their praise, that what we are all enjoying, is the delirious feeling of being struck in the face..."
"trading the devotional for the more transactional address of advertorial cymbal crashing, of images striking... like being struck, designed with the force of icons and logos, instantaneous recognition, the paintings connect with a speed prophetic of the contemporary ... understandable that her rise delayed would coincide with that of digital networks: von Heyl's paintings turn composition into a kind of semio-transaction of consumption"
"painterly recognition that is particular, depleting, and manic"
Click for full: Charline von Heyl at Petzel & Deichtorhallen, Charline von Heyl at Gisela Capitain, Charline von Heyl at Capitain Petzel
Click for full: Charline von Heyl at Petzel & Deichtorhallen, Charline von Heyl at Gisela Capitain, Charline von Heyl at Capitain Petzel
