Anselm Reyle, Dawn of Flames II, 2023. Glazed ceramics, plinth stainless steel
Courtesy of the artist, Andersen’s and CHART in Tivoli 2024. Photo by Jan Søndergaard
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About The Work
Found objects with questionable taste constitute a cornerstone in Anselm Reyle's oeuvre. This is exemplified by the series of ceramics that the artist developed a few years ago, in which he engages with the much-maligned style of Fat Lava, which emerged around the 1970s but soon ended up in flea markets as kitsch. The term „Fat Lava“ refers back to a particular form of glazing and is reminiscent of the large pores found in solidified lava flows. These days, however, Fat Lava is now generally associated with West German ceramics from the 1950s to the 1970s, which are characterized by bold colors, striking glazes, and experimental combinations using a great variety of forms. After the war, these pieces were for the most part industrially produced. Despite their simplified form, streamlined for industrial production, the vases stood out from other ceramics due to extensive research on new glazing techniques and bold colors, which were applied by hand. In addition to the primarily matte dark Fat Lava glazing, orange-red, cadmium yellow, and cobalt blue are among the colors representative of this style. Contrary to their former semi-industrial origins and short production time, the vases for Reyle’s series are created in collaboration with a traditional ceramic factory, due to their size and in some cases highly sophisticated processes.
„Dawn of Flames II" (2023) is part of a recently created series of ceramics now adorned with shiny metallic glazes. These works fit seamlessly into Reyle's artistic oeuvre, reflecting his fondness for glossy surface textures. At the same time, the relationship between high art and kitsch is called into question - a recurrent theme in Reyle's artistic practice. The vase displays cracks and irregularities – imperfections that the artist intentionally orchestrates by manipulating the clay before firing. Inspired by Japanese ceramics and their philosophy, Reyle adopts their appreciation of flaws and demonstrates his deliberately light-hearted approach to breaking away from perfection and linearity.
Anselm Reyle, Dawn of Flames II, 2023. Glazed ceramics, plinth stainless steel
Courtesy of the artist, Andersen’s and CHART in Tivoli 2024. Photo by Jan Søndergaard
Portrait of Anselm Reyle
Courtesy of the artist and Andersen's. Photo by Martin Mueller
About The Artist
Reyle's (b. 1970, DE) stripe paintings are instantly recognizable as responses to the formalist vocabulary of Clement Greenberg that defined the art of the 1950s and 1960s. Reyle references iconic abstractionists ranging from Kenneth Noland to Otto Freundlich. Reyle's "objets-trouvés," a reference to his multi-media installations that include sculpture and found neon lights, are in constant dialogue about the role of modernism today.
Reyle's critique of painting extends to his exploration of the constantly shifting criteria required for a work to be considered complete. He is one of few contemporary German painters examining the lessons of abstraction and their place in contemporary painting at a moment when figurative painting has gained critical momentum.
The artist's past solo exhibitions include shows at the Modern Institute in Glasgow (2007) and Galerie Almine Rech, Paris; one of new sculptures and paintings at Kunsthalle Zurich (2006); Galerie Giti Nourbakhsch, Berlin and Gavin Brown's Enterprise, New York. He has also participated in numerous international group exhibitions including ones at Tate Modern, London, and the Palazzo Grassi, Venice, Italy.
Anselm Reyle is represented by Andersen’s.
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