Michael Raedecker’s paintings of houses and landscapes are situated in a nowhere place. Intimately familiar scenes are estranged from recognisable tangibility, made distantly remote through their conscious resistance to ‘being’. In still, Raedecker’s garage door has the subliminal quality of a mirage. From the blank suggestion of the grey ground, tangled threads ‘grow’ as if by their own accord and the wood tile is conspicuous by its ready-made sourcing. Raedecker’s image emerges from the tautology of the materials: it’s the physicality of the surface which gives rise to its chimerical effect.

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