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Group show: Eizabeth Frey / Carl Fudge (over)

6 November 2003 until 3 January 2004
  Eizabeth Frey / Carl Fudge
Carl Fudge, "Rhapsody Spray 1", 2000, Sérigraphie, 133 x 159 cm Edition 6
  mitterrand+cramer / art advisory

mitterrand+cramer / art advisory
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1205 Geneva
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Carl Fudge
'Reloaded', 2003

Note from the artist :

All the images for these new paintings and prints begin with source material from contemporary Japanese anime and 18th Century Japanese prints."Reloaded" and "Plan B" depict a robot that embodies both a popular sci-fi transformer - toy figure and anime charachter - as well as the ancient Japanese warrior. As a counterpoint to the male persona, two painted portraits "Spray 5"and "Zelda" as well as the screenprint "Tattooed Blue" are from a reconstructed torso of a weeping woman. This reclining nude is found in an adult Japanese "magna" and of course also refers to the Odelesque. Finally, the screenprint "Cliff" is a reworking of a Ukyuio-e print after Katusshika in the Sunga tradition of Japanese erotic art, and two black and white paintings from the series "Twisted Pair" are images collaged from this traditional source material.

Elizabeth Frey
'As remembered all the places I have lived', 2002

Note from the artist :

As Remembered, All the Places I've Lived, is a series of 12 drawings made from memory of the places that I have inhabited since moving away form my childhood home. They have been made from my memory of these places and in a sense they portray the locations of my Bildungs Reise, or the stage settings for all that has happened during these periods. As such they are highly personal and loaded with the memories and the histories of my life.

At a first glance they borrow the clean-cut formal language of architectural blueprints, however a closer look will reveal that something is not "quite right". The drawings differ from the traditional architectural drawing in that each house is constructed in a way that gives each singular room its own vanishing point, its own perspective – highlighting their affinity to film sets where each single room seems to exist independently and only when activated by the action that takes place in it, without any coherent sequence other than what is created through the editing of the individual scenes into a narrative.

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