Manor Grunewald (BE, 1985) doesn’t limit himself to neither one technique nor one material. In his images, consisting out of edited prints, the process of adding, eliding, zooming and enlarging are crucial. Certain details in the image are very focused or highlighted in a very thoughtful way, while others are submerged from the eye. The reproduction of the images and how we look at them are vastly one of his subjects.
Manor starts out of his personal archive of imagery, this exists out of images that aren’t related to art whatsoever and where for example hand labor are central, as we can see someone laying floor tiles in one of the works. Next he scans these images and edits them so they look close to screen prints, which they are definitely not. In the same way his older paintings leaned towards the graphic, whilst they weren’t prints at all. The artist regularly plays with this deception and really masters this technique by laying different layers and a certain crackling daze that’s hiding in there. Usually we don’t know whether the image was created via a digital or analog platform, how far the hand and the manipulation of the artist reach, but everything has its own meaning. For example the grids refer to the process of Photoshop and the bolts on the side or the Mecanorma-foil make an irreplaceable part of the entire work.
The room in itself, where the works are being displayed, is also crucial and is a medium of the whole installation. Manor Grunewald integrates IKEA shelves, racks or ready-made sculptures (with a nod to Donald Judd) that contain the archive boxes with the original
images inside (therefore they accommodate the origin of the works from this artist, that are extracted from the viewer’s eyes). The exhibition space itself, or a section of it, is regularly painted and made into a piece of art.
(Text by Inge Braeckman)