Extract from text by Tone O. Nielsen for the catalogue for the show "Deep Skin," 1994.

Lars Buchardt’s large canvasses also deal with the optical illusion - with the illusion versus the factual. His works are scenes or tableaus for breaking down representative painting. This results in an autonomous pictorial reality which is (paradoxically) close to the sublime. This reality of the picture emerges from the contrast between Buchardt’s particular technique and the figurations it creates. The dark canvasses with their illusionistic depths are results of a calculated, though simultaneously arbitrary process: the canvas - after having been painted uniformly black - is creased and sprayed with white paint. A series of folds appear, and the canvas is then flattened. The result is a painting with an illusion of depths on a two-dimensional surface, while earlier, when it was a two-dimensional (creased) object in the artist’s studio, it was actually real, literary, factual. The possibility of discriminating between the painting as representation and the canvas as an object thus disappears in Buchardt’s work. What we see looks like an illusionistic space - however, it is real. During the process the painting as a representation merges with the painting as an object; the medium becomes the painting, because the painting mediates itself (the process) and nothing but that. We see a real, literal room in the scale of one to one. The two-dimensional reproduction of the outer world has disappeared.

"Film noir"



Lars Buchardt Estlandsgade 20, 2. tv., 1724 Copenhagen V, Denmark, Phone +45 2216 9148
Email: larsbuchardt@gmail.com