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It is now two years since Amelie von Wulffen wrote her text ‘Under the Poodle’s Skin’, in which she examined her most recent paintings in the context both of depressing turns in world events, and the ‘dynamics of her dysfunctional family’. She described how she was being increasingly drawn towards realism, and raised the question of whether the New Objectivity movement of the 1930s, driven by an urge to paint everyday objects such as glasses of water, arose from the same sense of anxiety and unease that we are currently experiencing. Today, although everything still seems intact and in place, a pervasive sense of dread persists. In the text, von Wulffen explores an essential element in many of her paintings, one that demonstrates a complex interaction of different levels of perception and representation. Things observed and invented are overlaid with dream and memory before being expressed in painting, which itself has its own way of constructing reality. At the same time, in the cracks of her dense and fragmented stories there lurks a repressed knowledge. The exhibition is accompanied by an eighty-page book of Amelie von Wulffen's drawings from the last ten years, none of which have been seen before.
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