My reaction on a feedback of Lou-ann Albiol-Ducos (Editorial, Fairs and Exhibitions Assistant at Almine Rech, Brussels) about my art work.
Technique: expressionist, therefore working in acrylic, which dries quickly. (I also do this for health reasons, as turpentine is harmful to health in the long term: dementia.) Initially, I only worked in oil paint on panel or linen, a technique I had mastered well. My work has psychological depth, conveys emotions, or draws the viewer into them. It is not descriptive, but deliberately abstract.
This leaves the interpretation up to the viewer. They have to guess, but above all feel it, so they can interpret it themselves: my image is open. The viewer is drawn into the emotions.
I work in raw, tactile layers that capture human experiences and feelings, and often give hints without concrete figuration: energetic, layered, rhythmic, spontaneous but with a humanistic view. The process is instinctive, resulting in visceral images full of direct emotions, often abstract (abstractive), in an accumulation of colour and texture (= emotional weight).
This has a strong visual appeal, opening up possibilities for interpretation in an individual gesture.
Improvement? According to the writer of the feedback 'If the compositional clarity were more focused, there would be a risk of overload due to the density of the brushstrokes and chromatic intensity.
My figures are often tormented, which is why I don't want linear structures. They appear fragmented (like our times).
Moments of silence and contrast + a sharper focus would “reinforce” the work (more attention from buyers).
Indeed, buyers want a clearly legible image, a clear starting point, but I emphasize above all that the world is confused at the moment and injustice is widespread. Images that are too clear can hinder free interpretation. However, they would reinforce the coherence of the various works. (I will certainly consider this).
The rawness of the 21st century is also reflected in the rawness of the painting and in the broken, pixel-like structure, which I use deliberately.
I also integrate the form of our time into my technique: (based on computer printing: in pixels).
This may seem a little overloaded, but it is a renewal of the form specific to this era.
I try to bear witness to my time, the 21st century, a time of terrible unrest, exclusion, polarization, crimes, catastrophes, both on a human and a global level. This is reflected in the technique.
In terms of theme, this is expressed in wounded children or families, revolutionary marches, expulsions, resistance and protests of all kinds; aggression, destruction! All these images from the past suddenly reappear and persist.
Large-scale political murders in the 21st century? What has humanity learned? A century of terrible injustice!
I try to map out the consequences of this in such a way that it is consciously felt and seen. That is the theme I work with.
The two recommended artists, Cecile Brown and Marlène Dumas, both have an interesting approach; perhaps I am somewhere in between. Marlène Dumas' focus on human vulnerability in solitary figures is a challenge, as I almost always work with “a family” or a group in which I sometimes bring solitary, tormented figures to the fore. These works can mainly be found in my series: brave new old worlds, a separate series, and my most important series:
testimonies of the 21 st century.
My work also spans a long period of time (60 years), which means that the emphasis of what comes to the fore over time sometimes shifts, which is also reflected in the form.
As an artist, I have also evolved. However, the underlying focus remains on injustice (into which I draw the viewer), almost always as a result of wars, which can range from expulsion, destruction of the environment and family, and painfully, children as innocent victims, or the liquidation of innocent people. This can shock the viewer with its brutality. As the gallery owner believes, it would benefit sales, for the sake of readability, if the design were more restrained by juxtaposition with empty spaces. (Want to try this out).
Silence and contrast would enhance my work. A focused approach is more understandable for the buyer; it should guide their gaze and reinforce the narrative.
The work should also be exhibited in a targeted manner, perhaps as indicated here, in medium-sized galleries that devote a great deal of attention to their artists, promoting their vision and thus consciously appealing to and interesting international collectors.
Selected art works of Gabriëlla Cleuren for sale on Singulart >>
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