Axel Geis
The approach is at once both personal and richly referential. First Axel Geis photographs his own chandelier from seven different angles, then he creates paintings based on the photos 鈥� all at the same time and under the time pressure that he finds productive for his work (鈥渙therwise it becomes too tentative鈥�). Looking at the 鈥淐handelier鈥� paintings, you get the feeling you also get after a good meal enjoyed with a great deal of wine when you try to keep your head from spinning as you rise and walk around the table. The eyes reel. Geis鈥檚 modest but nonetheless perceptible modifications of perspective from painting to painting evoke the Illusion that it is not we viewers who move, but the chandelier itself. But this has nothing to do with intoxication in the dining room.
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The approach is at once both personal and richly referential. First Axel Geis photographs his own chandelier from seven different angles, then he creates paintings based on the photos 鈥� all at the same time and under the time pressure that he finds productive for his work (鈥渙therwise it becomes too tentative鈥�). Looking at the 鈥淐handelier鈥� paintings, you get the feeling you also get after a good meal enjoyed with a great deal of wine when you try to keep your head from spinning as you rise and walk around the table. The eyes reel. Geis鈥檚 modest but nonetheless perceptible modifications of perspective from painting to painting evoke the Illusion that it is not we viewers who move, but the chandelier itself. But this has nothing to do with intoxication in the dining room.
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