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Marc-Antoine Fehr, Der Verschollene (The Man Who Disappeared), 2013, oil on canvas, 9' 1/4“ x 13' 1 1/2”.

Marc-Antoine Fehr

Galerie Peter Kilchmann

Marc-Antoine Fehr, Der Verschollene (The Man Who Disappeared), 2013, oil on canvas, 9' 1/4“ x 13' 1 1/2”.

Two masks flutter toward each other, butterfly-like, in a carnivalesque duet, overlapping as though they might join together to form a single face, only to drift apart again in free fall through an infinitely luminous blue after this brief encounter: This is what we see in Marc-Antoine Fehr’s Le Baiser (The Kiss), 2013. The large-format painting is divided into a grid of seventy-seven rectangles recalling the frames of a filmstrip. The masks sport brightly painted faces, which tumble in many different directions through the work’s neatly demarcated sections, while their interiors, which are a blank white, occasionally slip into shadow. This hybrid of painting and virtual animation is most striking at those moments when our gaze can no longer differentiate between static and dynamic perception. The severely serial, surface-emphasizing grid structure is counterpointed by the buoyant

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