Alexander, in his most recent show, uses fragmented photographic images from industrial equipment and environments. He photographs nuts, bolts, chains and rusted surfaces from such angles that they lose their original identities and become strange forms.
In “Kafka, The Castle” the rough texture of the weathered object and the vigorous thick brushstrokes of oil paint and the use of impetuous thrown lines sets up a relationship between the surface and the image, as our attention fluctuates between two and three dimensions between actual and constructed space.
Center-staged and suggestive, the forms are always existent but not categorical, hovering between reminiscence and the indefinite. A self-taught painter, Stenzel’s style is in between figuration and abstraction in which recognizable imagery is reduced to simple shapes and set off against vigorous abstract backgrounds.
Reviewed by Peter Carpenter, 1999