Anne Grebby
 
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interlude

The collaborative installation ‘interlude’ with Vera Dieterich at Gallerie Heppacher in Esslingen, Germany, 2004 was crucial in the development of more recent paintings.

The building which houses Gallerie Heppacher had been a synagogue until the last world war.

It now functions as an important centre for contemporary art. It also holds archival filmic record of the persecution of the Jews in Esslingen and the burning of their books outside this synagogue.


A selection of Anne Grebby’s individual works:

- A series of painted ‘bookworks’ suspend open books, as if frozen in time, on the canvas.

In various ways, the texts and images within them, begin to leave the book itself. They are
caught in the act of falling from the past to the present.

- Wax casts of feet, ‘wound dresser’ bandaged together with book ‘pages’ are raised on plinths.They cross the gallery, in pairs, caught between the action of coming and going.

Their ankles are tied together by the ‘word’ inscribed on their wound dressings.

 

 

- A theatre curtain ,‘ Interlude’ establishes a boundary between the viewer and the unseen ‘action’ beyond. This is the place of the interlude, where the beginning ends and the ending begins, the pause between two parts of a whole.

In the darkness of the auditorium, faced with the blank canvas of the curtain, the viewer has sufficient information about the ongoing action of the plot, (part one) to allow him/her to predict the future outcome (part two).

- In the painting, ‘tenda’ the curtain opens and closes. The viewer adjusts her gaze from the outer ‘reality’ of (staged) appearances to the inner world of her own imagination.When the eye closes, an after image is suspended across its lid. Likewise, the closed curtain retains and records fragments of ‘the seen’.

A sense of ‘presence’, of mutable and indefinable elements can’t be recorded on this surface, so the night itself is left to seep through the canvas around the curtain edges.