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All this calculation is not to say von Heyl’s practice is ironic or cynical, however. It is more a case of restraint and control, an eking out of painting’s lascivious qualities so as not to overwhelm; in other words, to hold the horses. This may be arrogant abstraction, but it is not loud-mouthed: a painting can say a lot more when it is softly spoken. Or, as von Heyl herself put it, ‘I am not interested in the sublime, but in a sort of silent and extreme spectacle, a kind of melodramatic abstraction.’

-Kristy Bell/Von Heyl (Frieze Magazine)


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