265 # 11
265 # 11
Technique: Mix media
Size: 195x145 cm
Year: 2008
265 # 24
265 # 24
Technique: Mix media
Size: 195x145 cm
Year: 2009
265 # 34
265 # 34
Technique: Mix media
Size: 195x145 cm
Year: 2009
265 # 23
265 # 23
Technique: Mix media
Size: 195x145 cm
Year: 2009
265 # 5
265 # 5
Technique: Mix media
Size: 195x145 cm
Year: 2009
265 # 22
265 # 22
Technique: Mix media
Size: 195x145 cm
Year: 2009
265 # 10
265 # 10
Technique: Mix media
Size: 195x145 cm
Year: 2009
265 # 3
265 # 3
Technique: Mix media
Size: 195x145 cm
Year: 2009
265 # 9
265 # 9
Technique: Mix media
Size: 195x145 cm
Year: 2009
Hollywood Pink
Hollywood Pink
Technique: Mix media
Size: 567x808 cm
Year: 2014
265 # 18
265 # 18
Technique: Mix media
Size: 280x200 cm
Year: 2009
265 # 20
265 # 20
Technique: Mix media
Size: 130x97 cm
Year: 2009
265 # 1
265 # 1
Technique: Mix media
Size: 130x95 cm
Year: 2009
265 # 14
265 # 14
Technique: Mix media
Size: 130x95 cm
Year: 2011
265 # 19
265 # 19
Technique: Mix media
Size: 130x97 cm
Year: 2009
265 # 118
265 # 118
Technique: Mix media
Size: 130x70 cm
Year: 2011
265 # 195
265 # 195
Technique: Mix media
Size: 130x70 cm
Year: 2011
265 # 133
265 # 133
Technique: Mix media
Size: 130x70 cm
Year: 2011
265 # 68
265 # 68
Technique: Mix media
Size: 130x 65 cm
Year: 2011
265 # 49
265 # 49
Technique: Mix media
Size: 195x145 cm
Year: 2010
Annette Merrild in her studio
Annette Merrild in her studio
Project “265”
Year: 2009
Annette Merrild studio in Joaquin Costa, Barcelona
Annette Merrild studio in Joaquin Costa, Barcelona
Project “265”
Year: 2009
Annette Merrild working in her studio
Annette Merrild working in her studio
Project “265”
Year: 2009
A view of the project “265” on paper
A view of the project “265” on paper
Each about 30x20 cm big
Year: 2007-2009
“265” is a series of portraits of naked women taken from pornographic magazines, and transformed by means of appropriation art. Merrild intervenes in the pornographic representation of the women as objects, and offer us a new bright and deep personal vision of them. Although she kept the original DIN A4 and DIN A3 magazine formats for her art pieces, Merrild has enlarged a first selection of 34 works to large format canvases.
In her project “265” Merrild does not only decode the pornographic aesthetics and representation of women, she also blurs the distinction between pleasure and fear, between desire and disgust. Distinctions which are often thought of as borders between a healthy and a depraved sexuality, or one might say distinctions between healthy and depraved identities. The initial pornographic representation is lost for the audience, and replaced by Merrild’s simulacrum of women portraits of almost heroic or religious stature.