Prices €600 – €20000
In the ‘Closeups’, I zoom in beyond the individual. Faces are cut off from the frame, the personal is lost. What remains are details that now speak for themselves, whereby it is clothes, gesture and posture that signify emotion. Persons are reduced to no more than some vulnerable features.
In the ‘Windows’ series I painted the daily life of my neighbours as seen from my window. The act of looking which is rendered public in the paintings also exposes the gaze of the voyeur. Because the paintings are created from the perspective of my own home, this sphere is also no longer entirely private.
The bilateral nature of looking is broken down further because of the relationship between the series and the work of Arne Svenson with which it is directly in conversation. When the addition of this third party breaks the illusion of intimacy connected to the act of voyeurism, the question that remains is not only how private the position of the viewed one is, but also what privacy remains for the gaze of the voyeur.
A series of paintings in a line along a wall, each provided with subtitles. The linear relationship between the pieces and the addition of text creates an illusion of explanation and connection. An image follows an image and a text generates an understanding of what it is we see.
In the series ‘In Transit’ I question the instinct to have our gaze be guided by text. What if two different images have the same subtitle? What happens with the hierarchy of signification (in which text stands above image) if the text itself is painted?
2 very large works:
Crowd IX, 2016-17, acrylic on paper, 3 rolls, 1000 x 125 cm each, €18000,-
In “Crowd IX” the Installation, a crowd descends the stairs in a long continuous movement on the 10 meter long rolls of paper. The double rhythm of the vertical lines of the people and the horizontal lines of the steps illustrate the contrast of an ever-moving crowd and the solid stones anchored in place.Together with the collective movement, the individual appears and disappears. A silent landscape oversees the capricious human interaction.
Scraps of paper are scattered over and around the rolls, painted with the same abstracted figures. Although isolated from the crowd, the individual is still defined in relation to his origin, as part of it. The individual’s ability to tear himself away from the crowd is no longer self-evident.
However, by going beyond the safety of the group, the figures also become susceptible to a third power that can judge them. One that can compress them into wads with as little breathing space as in the original mass.
CCTV (Wallpaper X) 2007, acrylic on canvas 4 rolls 450 x 138 cm per roll
2 rolls € 12 000,-
4 rolls € 20 000,-
security camera images at 25 locations,
Andrea says about CCTV:
In the series “CCTV” I look at the intersection between voyeurism and surveillance. Viewing people who are not aware of being watched creates an intimate relationship between the privacy of the subject and the gaze of the peeping-eye. However, what happens if that view is institutional, if it is unclear who or what is watching?
The images registered by the same camera at different times makes the continuity of the gaze less and less certain. Repetition and change here are not only about what was on the monitor but also who was looking at the time. The relationship between voyeur and object is no longer stable, the one-to-one relationship is disrupted.
In April 2021 Andrea Rádai will be represented at THE SOLO PROJECT, Brussels, and in May 2021 at DRAW Art Fair London, Saatchi Gallery.