Michael Raedecker | "The Other Side", 2002 | (for Parkett 65)
Read a Parkett text on Michael Raedecker
Parkett Vol. 65
Quote from Parkett
“It has rightly been said that Michael Raedecker’s paintings are ‘unsettling’: we do not readily comprehend what is actually happening in them nor do they offer us an ideal viewing distance from which we might feel that the image coalesces into an accessible whole. The paint, the various kinds of threads, and the other materials sometimes pasted and painted over, work at cross purposes. (…) On closer examination, loose hairs and threads stuck into the paint, along with protruding lumps of paint, evoke miniature landscapes, which then again approximate the complete image first seen in the painting, and so on.”
Bart Verschaffel, Parkett No. 65, 2002
Additional Quote
“Michael Raedecker sources images from second hand books, magazines, old catalogues, paintings, film stills and photographs. Using details from these images he makes his own original drawings, transfers them onto canvas and builds up the paintings with paint and different types of thread and wool. He references flowers, washing, cakes, table-cloths, sheets, lace, food and houses. These domestic topics and the decorative associations of needlework create a friction with the fetishistic nature of these paintings. As in this thirteen color print on pure silk of a house he painted, seen from “The Other Side” of the canvas, Raedecker infuses his work with an eerie familiarity–his sombre palette of subdued greys, blues, and browns reinforces the darker and more surreal qualities.” -Camden Arts Center
"The Other Side", 2002 (for Parkett 65)
13-color silkscreen print on pure silk satin scarf with handrolled border,
33 1/2 x 33 1/2” (81,2 x 81,2 cm),
detail from the back of the painting INCOMPLETE (2002),
produced by Fabric Frontline, Zurich,
Ed. 50/LI, signed and numbered certificate
Read a Parkett text on Michael Raedecker
Parkett Vol. 65
Quote from Parkett
“It has rightly been said that Michael Raedecker’s paintings are ‘unsettling’: we do not readily comprehend what is actually happening in them nor do they offer us an ideal viewing distance from which we might feel that the image coalesces into an accessible whole. The paint, the various kinds of threads, and the other materials sometimes pasted and painted over, work at cross purposes. (…) On closer examination, loose hairs and threads stuck into the paint, along with protruding lumps of paint, evoke miniature landscapes, which then again approximate the complete image first seen in the painting, and so on.”
Bart Verschaffel, Parkett No. 65, 2002
Additional Quote
“Michael Raedecker sources images from second hand books, magazines, old catalogues, paintings, film stills and photographs. Using details from these images he makes his own original drawings, transfers them onto canvas and builds up the paintings with paint and different types of thread and wool. He references flowers, washing, cakes, table-cloths, sheets, lace, food and houses. These domestic topics and the decorative associations of needlework create a friction with the fetishistic nature of these paintings. As in this thirteen color print on pure silk of a house he painted, seen from “The Other Side” of the canvas, Raedecker infuses his work with an eerie familiarity–his sombre palette of subdued greys, blues, and browns reinforces the darker and more surreal qualities.” -Camden Arts Center
"The Other Side", 2002 (for Parkett 65)
13-color silkscreen print on pure silk satin scarf with handrolled border,
33 1/2 x 33 1/2” (81,2 x 81,2 cm),
detail from the back of the painting INCOMPLETE (2002),
produced by Fabric Frontline, Zurich,
Ed. 50/LI, signed and numbered certificate
Read a Parkett text on Michael Raedecker
Parkett Vol. 65
Quote from Parkett
“It has rightly been said that Michael Raedecker’s paintings are ‘unsettling’: we do not readily comprehend what is actually happening in them nor do they offer us an ideal viewing distance from which we might feel that the image coalesces into an accessible whole. The paint, the various kinds of threads, and the other materials sometimes pasted and painted over, work at cross purposes. (…) On closer examination, loose hairs and threads stuck into the paint, along with protruding lumps of paint, evoke miniature landscapes, which then again approximate the complete image first seen in the painting, and so on.”
Bart Verschaffel, Parkett No. 65, 2002
Additional Quote
“Michael Raedecker sources images from second hand books, magazines, old catalogues, paintings, film stills and photographs. Using details from these images he makes his own original drawings, transfers them onto canvas and builds up the paintings with paint and different types of thread and wool. He references flowers, washing, cakes, table-cloths, sheets, lace, food and houses. These domestic topics and the decorative associations of needlework create a friction with the fetishistic nature of these paintings. As in this thirteen color print on pure silk of a house he painted, seen from “The Other Side” of the canvas, Raedecker infuses his work with an eerie familiarity–his sombre palette of subdued greys, blues, and browns reinforces the darker and more surreal qualities.” -Camden Arts Center
"The Other Side", 2002 (for Parkett 65)
13-color silkscreen print on pure silk satin scarf with handrolled border,
33 1/2 x 33 1/2” (81,2 x 81,2 cm),
detail from the back of the painting INCOMPLETE (2002),
produced by Fabric Frontline, Zurich,
Ed. 50/LI, signed and numbered certificate
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