Andy Denzler (born 3 August 1965 in Zurich) is a Swiss artist. The art media he works with comprise painting, printing, screen printing, graphic design, sculpture and drawing.

Andy Denzler trained at the Kunstgewerbeschule and the F&F Schule für Gestaltung in Zurich, both schools of applied arts, as well as at the University of California, Los Angeles, and the Art Center College of Design, Pasadena. In 2006 he graduated as Master of Fine Arts from London’s Chelsea College of Art and Design. Andy Denzler lives in Zurich.

Denzler’s works have been exhibited in one person shows and group shows in Europe and America, since 2010 also in Russia. In 2007, he was included in the exhibition “Kindheit” (Childhood) at the Museum Rohnerhaus in Lauterach, Austria. Works of his are owned, among others, by the Museum of Modern Art, Moscow, the White House in Washington DC, the Museum Würth in Schwäbisch Hall, the Burger Collection in Hong Kong, the White Cube Collection in London and the KunstWerk – Sammlung Klein in Eberdingen/Stuttgart.

Andy Denzler’s works move between abstraction and reality. With the classic means of oil painting, the artist endeavors to fathom the borderlines between fiction and reality. He presents his own perception of the world in his pictures. They are snap-shots of events that take place, blurred, distorted movements, Freeze Frames that stylistically move between Photorealism and Abstract Expressionism. In his paintings Denzler frequently alludes to other media. Titles and subject matter refer to films, as for instance in One Flew Over the Cuckoo’s Nest or Viktoria in The Birds. His “Motion Paintings” are divided into four groups of works: “Portraits”, “History Paintings”, “Figures & Landscapes” and “Urban Figures”. Andy Denzler translates them into painting, sculpture and drawing.

• Artist’s Website

Dizzying collages, with an absolutely dreamy palette, by French artist Jean Faucheur.

Jean Faucheur is a French artist born in 1956. There is coherence behind the apparent multitude of formal directions in Faucheur’s practice: paintings, photographs, masterpieces he reinterprets, photographs of the Parisian metro covered in graffiti, they all put into question, with great creative generosity, the ambiguity of the image and the ambivalence of the act of “seeing”. Faucheur is never satisfied with a mere exercice in style: he goes beyond the formal, he troubles our representations and faces us with the issue that these representations never reveal themselves for what they really are.

His artistic gesture also involves an analysis: in a century characterized by saturation through image, our resignation in front of these images and overexcitement of our representation systems, his practice is a calm, vigilant and humorous critique of our relationships to the perceived objects and of our paradoxical capacity to let ourselves taken by fascination and/ or repulsion. It reminds us that in this order of representations that is always shifting, what seems obvious is not always so.

Jean Faucheur is a pioneer of street art and is regularly presented as a personality that connects urban and traditional art on the one hand, but also generations of artists on the other. The coherence and the uniqueness of his practice have always been highlighted, confirming the sense of urgency with which Daniel Cresson asks us to realize that “we have in front of our eyes a rich urban painting, full of vitality, for which artists such as Jean Faucheur are essential references.”