Francis Ruyter

Long, narrow wall relief on a white wall: a band of red between purple above and blue below, with soft vertical folds that scallop its edges.

Untitled

2026

Acrylic on canvas

30 × 180 × 11 cm

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White gallery corner: two tall white canvases side by side on the left wall, each with a horizontal fold pinched in at the sides, and a single white canvas with a similar fold on the right wall.

Installation view of “Standard” at Ve.Sch, Vienna.

2023

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Installation view: a wooden display cabinet with green backing holding watercolours, small abstract paintings, a pair of folded painted cards and a tall green and pastel abstract painting.

Installation view of “(Let Us Now Praise Famous Men)” at Bureaucracy Studies, Lausanne

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Installation view: a cream cotton cloth with orange triangles tied to the wall with ribbons, beside the same wooden display cabinet with paintings.

Installation view of “(Let Us Now Praise Famous Men)” at Bureaucracy Studies, Lausanne

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Installation view in a long gallery: a wall-size outline drawing along the right wall with five paintings of fractured, mask-like forms; two more paintings on the back wall.

Installation view of “Hurricane / Time / Image” at fjk3, Vienna

2019

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Abstract painting of jagged shards in red, dark teal and blue with soft light-blue washes on a pale blue ground.

Alfred T. Palmer: Conversion. Automobile industry. Line of “honing” machines formerly used on automobile motors, have been moved back in the plant to make way for war work. Soon these machines will be stored outdoors until the tools necessary to adapt them to war activities can be completed. The Plymouth Company, Chrysler Corporation, Detroit, Michigan

2018

Acrylic on canvas

80 × 100 cm

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Wide installation view: a huge white wall covered in fine outline drawing of machine parts, with six small paintings of fractured, mask-like forms in pink, purple, olive, green, orange and teal spaced across it.

Installation view

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Tall abstract painting of angular shards in blue, pink, salmon, pale yellow and plum, with a striped band at upper left suggesting a flag.

Jack Delano: Chicago (North), Illinois. Children bringing in salvaged scrap at a headquarters civilian defense office

2017

Acrylic on canvas

140 × 100 cm

Installation view under a glass skylight: four tall outline drawings of tangled figures at left, three small pink and gold paintings and a table vitrine at the back, a large painting of a blond figure at right.

Installation view of “Hurricane / Time / Image” at fjk3, Vienna

2019

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Painting of a heap of scrapped metal parts in greys and lilac, with arcs and bars of green, yellow, orange and blue.

Russell Lee: Lotfull of scrap iron, Oklahoma City, Oklahoma

2015

Acrylic on canvas

180 × 250 cm

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Square painting of a tangled pile of scrap, wheels, spokes and rods, in cool greys and blue-greys.

John Collier: Fort Kent, Maine (vicinity). Salvage drive for scrap metal at 4:30 p.m.

2014

Acrylic on canvas

180 × 180 cm

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Installation view in a white, low-ceilinged room: a very wide painting of auto parts with the words ‘Better Buy Buick!’ on the left wall, a smaller abstract painting at right.

Installation view of “Let Us Now Praise Famous Men” at Neuer Kunstverein Wien, Vienna

2020

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Installation view: two large square paintings side by side on a white wall, one of two young women sitting close together, one holding a pencil to her lips, the other of shelves of wartime housekeeping handbooks.

Installation view

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Installation view: one large painting of a staged patriotic tableau – a soldier, Uncle Sam, a sailor, a kneeling boy and a girl with a sign reading ‘He’s our uncle’ beside a large flag – on the wall of an empty room with a single chair.

Installation view

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Painting of a roadside sign, ‘No visitors please’, with a message from the Pacific Power & Light Co., olive green with salmon lettering against turquoise sky, barbed wire in front.

Russell Lee: Sign of the times. Yakima, Washington

2011

Acrylic on canvas

120 × 150 cm

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Painting of a family of five in a bare room: a woman with an infant on a bed, a standing child, a moustached man with a small child on his lap, and an older woman in a green apron, in blues, orange and lime.Source photograph for this painting

Walker Evans: Sharecropper Bud Fields and his family at home. Hale County, Alabama

2010

Acrylic on canvas

150 × 180 cm

Source photograph: Walker Evans, “Sharecropper Bud Fields and his family at home. Hale County, Alabama”. FSA/OWI collection, Library of Congress, Prints and Photographs Division.

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Painting of journalists and photographers crowded around a bank of microphones at a podium, a bearded man in a pale blue suit at left, in teal, orange, red and purple on a green and violet ground.

The Secret Life Of Words

2008

Acrylic on canvas

220 × 350 cm

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Gallery installation view: a very long painting of overlapping flags on the back wall, a tall flag painting at right, a smaller painting at left, the polished floor reflecting the colours.

Installation view of “Atoms for Peace” at Georg Kargl Fine Arts, Vienna

2008

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Abstracted painting in vertical bands of pale blue-green, blue, red, green and black, with traces of flag motifs and lettering, outlined in thin black lines.

Send Me No Flowers

2008

Acrylic on canvas

120 × 150 cm

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Painting of a wooden footbridge through a wood, a hiker with a backpack seen from behind in the distance, framed by a large orange tree trunk and white and red branches, in blue, tan and grey.

Dark Passage

2003

Acrylic on canvas

305 × 244 cm

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Wide painting of orange leaves hanging in front of a pale lavender tree trunk and dark trunks, against deep blue with pink blossoms.

Forbidden Planet

2003

Acrylic on canvas

213 × 427 cm

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Leaded stained-glass panel in a wooden frame: a tangle of curving red, yellow, pink, white and green bands on a bright turquoise ground, photographed against a workshop window.

Stained-glass panel

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Tall painting of a rolling landscape with a pink and white farmhouse, a winding road and orange and yellow shrubs, in flat pink, green, orange and yellow.

One Hour Of Love

2005

Acrylic on canvas

210 × 120 cm

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Woodcut print of vertical tree trunks in bands of yellow, orange, purple, pink, green and blue, outlined in black on cream paper.

Count The Hours

2012

Woodcut on Japanese Kozo paper

95 × 114 cm

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Six tall panels in a row on a white wall in a large exhibition hall, each divided by a broad brown cross into four fields of flat colour with figures and trees.

“Stations of the Cross” Installation view at Art Basel | Art Unlimited

2002

Acrylic on canvas, 14 panels, 350 x 244 cm each

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Inside a church: four tall panels, each divided by a dark cross, hang on the white walls of the sanctuary beside wooden pews and a marble floor.

“Stations of the Cross” Installation view in St Wolfgang Church, Regensburg

2005

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Young people sprawled and leaning around a bar table with drinks, in lime, blue and green, an orange window grid behind them.

Through a Glass Darkly

2003

Acrylic on canvas

183 × 305 cm

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Crowded close-up of a small round table with cocktails and an ashtray, surrounded by hands, knees and torsos of seated people in blue, green, grey and orange.

The Sun Also Rises

2002

Acrylic on canvas

229 × 335 cm

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Two women in elaborate evening dress against a dark ground: one in a red fur-trimmed bodice and pale skirt, the other in a yellow and orange patterned gown.

The Man Between

2004

Acrylic on canvas

150 × 120 cm

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Close view between two plastic chairs, with the bare legs and feet of standing people visible between them, in black, grey, pink, yellow, lime and sky blue above an orange-red floor.

The Nest

2001

Acrylic on canvas

122 × 122 cm

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Cemetery under a red sky: a seated marble figure on a boulder at left, a stone cross, and a round open colonnade of Corinthian columns, bare branches crossing the top.

Rooftops

2000

Acrylic on canvas

244 × 305 cm

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Two children on a sunlit paved sidewalk in flat yellow, orange, blue and green: a girl with a ponytail stands by a tree while a boy in sunglasses sits on the curb, a thin yellow stream running into the gutter.

Land of Silence and Darkness

1999

Acrylic on canvas

213 × 152 cm

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Seated statue seen from behind and below on a pale lavender base lettered with fragments of a name, a band of red stars, a flag at left, against an orange sky and pale blue lake.

High and Low

1998

Acrylic on canvas

244 × 183 cm

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Two-story wooden house with boarded upper windows, painted in yellow, white and pink against a deep green ground, with red steps and door, a blue window and a small rabbit-face wreath.

The Moving Target

1998

Acrylic on canvas

183 × 244 cm

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Painting in flat blue, pale yellow, orange and black shapes with thin light outlines: a white-suited figure with a round helmet raises a hand beside a chain-link fence, while gloved hands hold up a limp animal above a syringe.

Planet of the Apes

1997

Acrylic on canvas

152 × 183 cm

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Unfinished painting on an orange ground, drawn in fine black outline: a young man holding a basketball, crouching and leaping figures, riders on dirt bikes, a masked face, and the words FERRIS BUELLER lettered in blue.

Ferris Bueller

1996

Acrylic on canvas

137 × 163 cm

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Black-and-white installation photograph: four large outline drawings of young people, each on its own sheet, hung over a wall-size mirrored pattern of drawn figures and objects.

Installation view, Friedrich Petzel Gallery

1993

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