Following a series of exhibitions on fragmentary distortions (Distorted Fragments, Art + Art Gallery, Moscow, 2010), the inherent movement of painting (Motion Paintings, Galerie von Braunbehrens, Munich), or the study of human nature and the human ex-posed through nature (The Human Nature Project, Schultz Contemporary, Berlin); following a recent exhibition on the states of interiority (Interiors, Fabian & Claude Walter Galerie), and an exhibition on the critical threshold of painting's contemplative dissonance (Dissonance and Contemplation, Claire Oliver Gallery, New York), a critical evaluation of Andy Denzler's painting imposes as a means to observe the filmic and cinematic aspects of our movements in the smudging and the irregularities of contemporary painting, in order to approach the suspension of sensibility and the «development» of images. Movement is, in fact, one of Denzler's distinctive marks, yet not the movement in its continuous, homogeneous aspect, nor in its dispersion, or in the fuzziness that constitutes it as movement (motion blur), but the movement as fragmentary distortion of the traces that shelve the presence continuously.

Denzler actually succeeds in exposing the sub-painting, the under-painting, the underlying stratum, the groundwork, that which subtends the entire visuality. The abstract photo realism of this painting does not point to the «clarity» of the image, to its homogeneity, but to a diffracted image, marking the loss of focus, the attempt to catch the subject in its movement; it pierces through the momentary density and the clot of the present.
Denzler's portraits are sensible descriptions of fragile states, they depict the delicate becoming of life pellicles. By dissolving the physiognomy of the face, the painting superposes the stratums, it imprints into the portrait, it emphasizes the printing of the portrait.