Titles:
Vapula’s Obsession 62% (left)
Vapula’s Obsession 78% (right)
Year: 2025
Artist: Anne de Vries
Dimensions: 89 cm × 55 cm × 35 cm
Materials: Brass pulver, epoxy, patina, resin core, acrylic paint. (also available in full bronze)
Description: Wall sculptures
Title: STAMP ALERT – Connecting The Dots
Year: 2025
Artist: Anne de Vries
Description:
An immersive installation exploring themes of media and constructed realities through a combination of animatronics, video, and large-scale printed visuals.
Installation Components:
Produced in collaboration with: ODYSSEY, Köln, and Blue Velvet, Zürich
Title: Today’s Dream, Tomorrow’s Haunt
Artist: Anne de Vries
Year: 2025
Dimensions: Variable, immersive
Materials: CGI renders, UV prints on PVC
Description: By repurposing banners typically used as visualisations, around construction sites,
the work builds on the illusions embedded in development imagery—visualizing projected architecture and lifestyles for a near future.
Credits: CGI renders produced in collaboration with Leonardo Reuvenkamp.
Title: In Control
Artist: Anne de Vries
Year: 2022
Dimensions: Variable
Materials: Fencing, prints on vinyl
Description: Banners on the fencing advertise fictitious future events, featuring real locations and dates. It remains unclear whether these events signal a revolution or a party. The visuals, inspired by flyers for Tekno, Hardcore, and Bondage events, form a layered collage. Upon closer inspection, the locations reveal themselves as the headquarters of some of the world’s most environmentally destructive corporations.
Exhibited at: Frans Hals Museum, Haarlem
Title: Détournement 023
Artist: Anne de Vries
Year: 2020
Dimensions: 79 x 59 x 1.4 Inch / 201 x 151 x 3,5 cm
Material: Cotton canvas 380 g, gesso, acrylic paint, photography, kierewiet logo, UV-print, aluminum stretcher.
Title: T.A.Z.
Artist: Anne de Vries
Year: 2018
Dimensions: 85 x 56 x 5,5 cm / 33.5 x 22 x 2.2 Inch
Material: Chinese ink, acrylic paint, laser print,
gesso, narkotek logo, hard foam.
Title: KETENDER STUDIES B/W
Artist: Anne de Vries
Year: 2017
Materials: Works on watercolor paper 140lb/300gsm Winsor & Newton
Size: 760 x 560 mm
Title: Windy
Artist: Anne de Vries
Year: 2020
Size: 200x150cm
Material and techniques: Linen canvas 380g, gesso, acrylic paint, UV-print, a photograph of trees near the Chelsea piers,
with hands from the Rat God by Richard Corben, and a Paris apartment rendered by Bertrand Benoit, oakwood artist frame.
Title: Anarchy in the Hive Mind
Artist: Anne de Vries
Year: 2020
Size: 191x141x4,5cm
Material: 380g linen canvas, gesso, photography of plants from REWE, cartoon bees and hornets, UV-print, CGI, double wood stretcher, aluminum artist frame.
Title: Entwurf zu ‘kleine Freude’
Etude pour ‘Petites joies’
Artist: Anne de Vries
Year: 2015
Dimensions: 517mm x 347mm x 50mm
Edition: Unique, Signed
Material: Archival UV print, on Photo Forex, wooden frame with acrylic paint.
Technique: Digital collage with photographs taken by the artist from crowds with laser light shows on different occasions, and works by Wassily Wassilyevich Kandinsky,
the title refers to the compositions and writing by Kandinsky about the relationship between people, music, and colors.
Title: Around the Eye
Artist: Anne de Vries
Year: 2013
Material: Digital print on extruded polystyrene XPS, plexiglass, aluminum frame
Image transfer : Jalapeños, Rucola, Peanuts
Artist: Anne de Vries
Size: 160x70cm
Image transfer : Jalapeños, Peanuts, Champignons
Artist: Anne de Vries
Size: 160x70cm
Image transfer : Rucola, Jalapeños, Peanuts
Artist: Anne de Vries
Size: 160x70cm
About: These digital prints present their own production tear down, starting as a still-life of supermarket produce captured by a digital camera, the image travels through the lens, chip, wire, computer components, software, etc. all the way to the printer, until its materialization as ink on paper that is hung with hooks and clips to the wall. The deceptive simplicity of this arrangement is overcoded by an informational panorama that renders visible the circumstances and locations of the chain of production in relation to which the fruit are the end-product eventuations. The inscriptions include the name and address of the retailer and the first responsible production companies involved and are superimposed in small type over the still-life image. Lining up the dynamic roots of this art piece production in today’s global economy.
Title: CAVE2CAVE2CAVE
Artist: Anne de Vries
Year: 2019
Dimensions: 700cm wide, consisting of 150 x 100 x 3,5 cm stretchers.
Material: Print (UV-RGB-W) on mirror coated PVC, Aluminum P35 Stretcher, with Aluminum artist frame.
Titles: CAVE2CAVE_1379, CAVE2CAVE_0671, CAVE2CAVE_0807,
CAVE2CAVE_9850, CAVE2CAVE_1339, CAVE2CAVE_0613.
Artist: Anne de Vries
Year: 2019
Dimensions: 150 x 100 x 3,5 cm
Material: mirror-coated PVC, with Print (UV-RGB-W) on an Aluminium P35 stretcher, and inside an aluminum artist frame.
CAVE2CAVE
Artist: Anne de Vries
Year: 2011 – 2019
Size: 130 x 100 cm (60.63 inch x 33.46 inch)
Material: UV print on mirror foil, aluminum frame
About: Photographs of wrinkled reflections of cave paintings and UV-printed on mirror foil on a stretcher.
Two artworks: Interface – Easy Jet & Interface Mushashi, installed at the exhibition RUIS, curated by Melanie Bühler and collected by Frans Hals Museum, Haarlem.
Title: Interface – Downstairs
Artist: Anne de Vries
Year: 2014
Dimensions: 164 x 124 cm
Materials: 2 digital prints on 2 sheets of Forex, with digital cut-outs, painted wooden frame.
About: Exhibition views from Folklore Contemporain Exhibition ll with sculptures by Sebastien Aubry & Dimitri Broquard at SWG in Glasgow.
Title: Interface – Musashi
Artist: Anne de Vries
Year: 2014
Dimensions: 164 x 124 cm
Materials: 2 digital prints on 2 sheets of Forex, with digital cut-outs, painted wooden frame.
Title: Interface – Il Casolare
Artist: Anne de Vries
Year: 2014Dimensions: 164 x 124 cm
Materials: 2 digital prints on 2 sheets of Forex, with digital cut-outs, painted wooden frame.
Title: Interface – Easy Jet
Artist: Anne de Vries
Year: 2014
Dimensions: 164 x 124 cm
Materials: 2 digital prints on 2 sheets of Forex, with digital cut-outs, painted wooden frame.
Title: At the Shores
Artist: Anne de Vries
Year: 2013
Size: 65cm x 160cm
Material: Digital prints, framed
About: While many of the computer-generated events assigned to these random dates will probably not take place,
some computer-generated speculations will take place. Such as those made by NASA and the science community at large.
Whole World Overview
Artist: Anne de Vries
Year: 2011
Size: 220cm
Materials and techniques: UV print on Dibond and 4mm Plexiglass
About: This artwork is generated by Anne de Vries in association with NASA’s The Whole World satellite photography.
The footage is stretched into a circle (North-Pole to South-Pole) reminiscent of ancient Sun Crosses and Sun Wheels.
Documentation by: Future Gallery Berlin
Title: Infinite Value
Artist: Anne de Vries
Year: 2009
Sizes: 5 x 74 x 53 cm
Material: 3 digital prints in front of each other in the frame.
About: 3 Digital prints overlaid in the custom-made wooden frame.
By milling out parts of the first image, another version of the same image appears.
Title: Katanga Bub
Artist: Anne de Vries
Year: 2011
Size: 35.43 x 56.69 inch
Material: Mobile devices glued on a light box displaying a press image of the Katanga mines in the Kongo, rephotographed under water.
About: The extreme ends of the mobile device industry are brought together in ‘Katanga Bub’. It is based on a press image depicting the landscape and workers of Katanga, in The Democratic Republic of Congo – an area mined for many minerals like tungsten and coltan, which have been crucial for the manufacture of mobile devices. For this work, the press image of the Katanga mines has been re-photographed underwater and set within a freestanding display unit. as water ripples and bubbles float over the surface, distort- ing the scene underneath, the screens of numerous mobile phones show clearer details of the same view of the Katanga mine. The elemental earthy origins of the mines are (re)connected with the liquefied luxuriance of global technology commodities and their marketing aesthetics, to express the easy exchange of information through these devices. This work fuses two opposing but connected ends of the story: on one hand, the mobile devices help spread knowledge and raise global awareness, with the false promise of engendering a better world. On the other hand, while the economy of “rare earth” props up the problematic social and political infrastructures of the Democratic Republic of Congo, it also reveals the recursive relationships between matter and information underwritten by the move from production to the product; from raw material to data generation.
Exhibition views from Trails Rising at Sandy Brown Gallery in Berlin, The Composing Rooms in London, and Treijac Project in France