Painter, Photographer | United Kingdom

jay rechsteiner

Jay Rechsteiner - Painter, Photographer
"Staying true to myself and having integrity is important to me. I don't produce art for the masses, nor have I any desire to ride on the band wagon of current trends."

Jay Rechsteiner is a Swiss multi-disciplinary artist who is today based between London and Margate, UK. Working with painting, photography, video and performance, his works often tackle anarchic and political themes in a frank and sometimes startling manner, drawing attention to the absurdness of his subjects.

The Storyteller

Three integral aspects of Rechsteiner’s work are process, zeitgeist and peripatetics, and most of his artistic production can be applied to one of these categories. It is important for him that his works reflect the journey that they have made. Through a constant critical analysis of his work, he often revisits pieces, allowing them to take new directions. The themes and subject matters of his work are explicitly relevant to the culture of today, and though his viewers may not be of the same opinion, his works are active conversations, undoubtedly inciting reaction and response.

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The Damn Right Ugly

Through his “Bad Painting” series, Rechsteiner illustrates the barbaric and foolishness of contemporary society. “Six guys beating a transsexual woman to death” or “The assassination of Donald Trump”, might make the viewer feel highly uncomfortable, but these poignant scenes with wrongly proportioned bodies, limited perspective and cartoon-like faces, also make us confront and question the ugliness of the world today.

Exhibiting Among the Greats

Jay Rechsteiner has exhibited internationally with exhibitions at many notable museums and galleries, including the Venice Biennale, Fukuoka Art Museum, the Whitechapel Gallery and Tate Liverpool. Rechsteiner once formed half of the artist duo Sardine & Tobleroni, who gained an increasing reputation between 2007 and 2012, exhibiting worldwide.

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Bad Painting

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Catholic Vantage

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Delphine & Jay: the concrete and the abstract

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