Andy Denzler and Yvette Molina
“A Day At The Shore”
March 8 – April 12, 2008
Opening Reception:  Saturday, March 8, 5-7pm

2525 Michigan Avenue #G2, Santa Monica, CA 90404
310-829-3300, fax 310-449-0070
Web site:
Gallery hours, Tuesday – Saturday 10:00am – 6:00pm

Left image: Andy Denzler, “Ocean View # 1” , 2008, oil on canvas, 74.8" x 98.43".
Right image: Yvette Molina, “NicotinaSeeding”, 2008, oil on aluminum, 36" x 36".

Ruth Bachofner Gallery is pleased to present A Day At The Shore, an exhibition of new paintings by Swiss artist Andy Denzler.
In the last three years and since receiving his masters degree from Chelsea College in London, Andy Denzler’s geometric abstractions have evolved into figurative works which will be presented in this exhibition. His current paintings reveal a dialogue with the past abstractions, but are now guided by the speculative nature of perception in his rich figurative works.
Figures referenced from mass media, photography, cinema and other areas of popular culture, are removed from their original contexts and placed into ambiguous spaces. Painted figures are aggressively distorted by the movement of a spatula across the surface, blurring the identities of his subjects. While the paintings continue to revel in the physicality of paint that Denzler aptly manipulates, his works now embody the furtiveness of memory and observation through implied movement of paint and hazy features.

In a recent catalogue Hans-Joachim Müller wrote: “What essentially determines these pictures is the perceptively critical elegance with which they undermine the violent act of seeing, their unfathomable doubt of that surety of perception...”

This is Andy Denzler’s fourth solo exhibition at the gallery. He also shows at von Braunberhens, Munich; Werner Bommer, Zurich, Flowers East, London, Filomena Soares, Lisbon and has exhibitions planned for Gallery Mook, Beijing and East Link Gallery, Shanghai. His work is part of numerous public and private collections including White Cube, London, The Burger Collection, Zurich and the White House.

Yvette Molina’s paintings have for several years arisen from the artist’s observation of plant specimens placed in fluid, semi-transparent settings. More recently, her observations have focused on the less perceptible, elemental world of the sky and air and the invisible processes they hold.  The tremendously active and vital forces of pheromones, spores, gases and particles, while less visible, are no less impactful to life and inform Molina’s work. “The power of air currents,” Molina states, “that are as physical as any mountain, the color of gases in the air that are inherent to its makeup or contributed by human industry, the particulate transformations of water and weather are all made visible in this new body of work.”

Molina’s visual language in these paintings refers both literally and symbolically to her recent readings on ancient visions of the cosmos and atmosphere, where humors and spirits guided schools of thought. When, as Joe Sherman writes, “air was considered a medium, a means of communication and transport, almost like a river between the heavens and earth. Through air came powers not only to rule human destinies, but to effect important minerals, an idea later embraced and expanded by the alchemists." *

Molina translates these early scientists’ archaic and perhaps romantic understanding of the earth’s unseen processes into her rich, nuanced oil on aluminum paintings.

* Excerpted from Joe Sherman’s The Swift and Terrible Beauty of Air.

Return to Gallery Pages