Anuli Croon

In Your Face

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In a crisscross of areas and patterns figures secure themselves a place. Not weightless they detach themselves from the background but threaten to disappear back into it again. The observation makes the image stagger in Anuli Croon's work. Form and meaning vie for victory and interfere with the viewer's tendency to interpret. No loser, no winner. In Croon's universe the artist's hand reigns: order reigns.
_Jef Schaeps, Curator Printroom University Leiden, NL

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Anuli Croon's colourful, severely structured paintings automatically activate the beholder's reservoir of associations: images and impressions of mysteriousness, ambiguity, references to primitive art, comic characters and commercials, everyday household items, fabric patterns and universal symbols for human gestures and body language are just a few of the elements of her imagery. ...
_Vera Illés

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... The machine-generated compositions have no traditional 'handwriting' but are rendered a human touch through the manual use of small stamps.
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Haute couture _ The sources that Croon draws from are diverse. There are apparent influences of posters and comic strips from the 70s, patterns from haute couture or, by contrast, folk art. The artist applies them to a limited number of traditional themes – landscape, still life and portrait – but the execution is far less traditional. ...
_Edo Dijksterhuis

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Anuli’s work shows vitality where poetry yield itself up little by little. _Cok de Rooy, The Frozen Fountain
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SILENT WITNESSES
Anuli Croon paints in the vein of the cartoon. The work is extraordinarily colorful. The work looks simple without simplistic. The two-dimensional representation conforms wholly to the flat plane of the canvas or the wall. The coloration is mostly clear and primary. The paintings pairs analysis with intuition. They enable the viewer to riddles. Their cartoonish simplicity is deceptive. Where a story leads to a denouement, Anuli Croon keeps her plot cunningly hidden in a mix of hands, eyes, buildings, interiors and ornaments. People make their appearance as silent witnesses of unexplained affairs; they give text nor explanation. Yet they are clearly constructed with a loving touch. That alone protects them for the anonymity of the crowd.
_Jan van Heemst / catalogus 'Aanwinst' Hogeschool Rotterdam
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What is it about your studio space that inspires you?

nobody there but me and the work.

What sounds, scents and sights do you encounter while in your studio?

in my studio I listen to music like The Black Angels, Joan As Police Woman, Junior Kimbrough, The XX, Angel Olsen, 18+, Sleaford Mods and many others. When I am in need for voices from the outside world I will listen on the internet to talks and interviews. And I can work for days in complete silence.

What is your favourite material to work with? How has your use of it evolved throughout your practice?

my paintings as well as my works on paper I make with the help of paint rollers, small brushes, Scotch tape, ruler, home-made stencils and stamps. For materials I use gesso, matt acrylic paint, fluorescent paint, metallic paint and crayons. The handwriting has no touch. The material is framed by tape, stencils and ruler. The texture is matt - except where metallic paint has been applied - and looks more like textile than paint. This springs from the idea to develop my own imagery from an analytical and detached modus operandi, in which the diversity of my artistic interests can be incorporated.

What themes do you pursue?

my paintings and works on paper show constructions that represent figures, interior, (city) landscape, still life as autonomous identities _ the figures as well as the urban fragments are composed of an assemblage of visual elements of different origins.

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