{"id":19123,"title":"Damien De Lepeleire - 2017 -  Inferno’s Floor [EN, review] ","dimensions":"1 p.","date_begin":null,"material":"","art_status_id":13,"legal_status_id":47,"category_id":167,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Hans Theys Archive / Archief Hans Theys","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"damien-de-lepeleire-inferno-s-floor-en-review","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Hans Theys","hide_from_json":true,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"category":{"en":"Review","nl":"","fr":""},"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n__________\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nHans Theys\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cstrong\u003eInferno\u0026rsquo;s Floor\u003cbr /\u003e\r\nNew collages by Damien De Lepeleire\u003c/strong\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nTwo years ago, during a residency at the Academia Belgica in Rome, Damien De Lepeleire (\u0026deg;1965) began to pay attention to so-called ornamental attributes of architectural achievements from the middle ages, the renaissance and the baroque period. Eventually this led him to study marble floors (e.g. the medieval cosmatesques) and the mosaics from ancient Rome. What strikes him in these mosaics, is how the visual simplification due to the use of square stones has produced a meeting between mathematics and color and an invention of graphic stratagems the like of which the art of painting didn\u0026rsquo;t enjoy until the 20\u003csup\u003eth\u003c/sup\u003e\u0026nbsp;century.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eOne might consider the resulting series of collage-paintings, assembled under the title\u0026nbsp;\u003cem\u003eInferno\u0026rsquo;s Floor\u003c/em\u003e, an homage of the major arts to the so-called minor ones. Gluing small cut-outs from newspapers and art books to canvas, De Lepeleire reconstructs ancient mosaics or invents new ones, shining a distorted light on the patterns of marble floors, the head of a Roman Medusa or Mike Tyson. These are amazing works, light-footed and stern at the same time, intimately linked with De Lepeleire\u0026rsquo;s previous work, but completely fresh. Paved with good intentions, this painter\u0026rsquo;s voyage through hell seems to produce more and more breathing space.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nMontagne de Miel, November 22\u003csup\u003end\u003c/sup\u003e\u0026nbsp;2017\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n__________\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nHans Theys\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cbr /\u003e\r\n\u003cstrong\u003eFriendly Fire\u003cbr /\u003e\r\nNieuwe collages van Damien De Lepeleire\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cbr /\u003e\r\nTwee jaar geleden, tijdens een residentie aan de Academia Belgica in Rome, kreeg De Lepeleire (\u0026deg;1965) aandacht voor de schijnbaar louter ornamentele toevoegingen aan de architectuur van de middeleeuwen, de renaissance en de barok.\u0026nbsp; Dit leidde tot een studie van marmeren vloeren (bijvoorbeeld de middeleeuwse cosmati) en de moza\u0026iuml;eken van de Romeinse oudheid. Een van de dingen die hem fascineren is hoe het gebruik van vierkante steentjes heeft geleid tot een visuele vereenvoudiging en een ontmoeting tussen kleur en geometrie die pas in de twintigste eeuw haar intrede heeft gedaan in de schilderkunst. \u0026lsquo;Inferno\u0026rsquo;s Floor\u0026rsquo;, de reeks collages die hieruit is voorgekomen, vormt zo een eerbetoon van de zogenaamd hogere kunsten aan de toegepaste kunsten en de ambachten.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDe Lepeleire reconstrueert antieke moza\u0026iuml;eken of verzint er nieuwe. Als meester-schaarhanteerder, die in 1997 pornografische foto\u0026rsquo;s uitvergrootte waar hij de afbeelding van de uitgestalde dames had uitgeknipt, of die jarenlang \u0026lsquo;pop-ups\u0026rsquo; vervaardigde (opzwellende, uitgeknipte afbeeldingen van sculpturen), knipt hij fragmenten uit krantenpapier of kunsttijdschriften om ze in feestelijke schikking aan te brengen op een getint doek. Zo werpt hij een schuin licht op de patronen van marmeren vloeren, het hoofd van een \u0026lsquo;fauvistische\u0026rsquo; antieke medusa of een strijdlustige, poserende Mike Tyson. Dit is verbazend werk, lichtvoetig en serieus tegelijk, nauw verbonden met De Lepeleires vorige werk, maar wederom volstrekt nieuw en fris.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nMontagne de Miel, 22 november 2017\u003c/p\u003e\r\n"},{"locale":"fr","short_description":"","description":"\u003cp style=\"color: rgb(51, 51, 51); font-family: sans-serif,Arial,Verdana,\u0026amp;quot;trebuchet ms\u0026amp;quot;; font-size: 13px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n__________\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nHans Theys\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cstrong\u003eInferno\u0026rsquo;s Floor\u003cbr /\u003e\r\nNew collages by Damien De Lepeleire\u003c/strong\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nTwo years ago, during a residency at the Academia Belgica in Rome, Damien De Lepeleire (\u0026deg;1965) began to pay attention to so-called ornamental attributes of architectural achievements from the middle ages, the renaissance and the baroque period. Eventually this led him to study marble floors (e.g. the medieval cosmatesques) and the mosaics from ancient Rome. What strikes him in these mosaics, is how the visual simplification due to the use of square stones has produced a meeting between mathematics and color and an invention of graphic stratagems the like of which the art of painting didn\u0026rsquo;t enjoy until the 20\u003csup\u003eth\u003c/sup\u003e\u0026nbsp;century.\u003c/p\u003e\r\n\r\n\u003cp style=\"color: rgb(51, 51, 51); font-family: sans-serif,Arial,Verdana,\u0026amp;quot;trebuchet ms\u0026amp;quot;; font-size: 13px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003eOne might consider the resulting series of collage-paintings, assembled under the title\u0026nbsp;\u003cem\u003eInferno\u0026rsquo;s Floor\u003c/em\u003e, an homage of the major arts to the so-called minor ones. Gluing small cut-outs from newspapers and art books to canvas, De Lepeleire reconstructs ancient mosaics or invents new ones, shining a distorted light on the patterns of marble floors, the head of a Roman Medusa or Mike Tyson. These are amazing works, light-footed and stern at the same time, intimately linked with De Lepeleire\u0026rsquo;s previous work, but completely fresh. Paved with good intentions, this painter\u0026rsquo;s voyage through hell seems to produce more and more breathing space.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nMontagne de Miel, November 22\u003csup\u003end\u003c/sup\u003e\u0026nbsp;2017\u003c/p\u003e\r\n"},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":"\u003cp style=\"color: rgb(51, 51, 51); font-family: sans-serif,Arial,Verdana,\u0026amp;quot;trebuchet ms\u0026amp;quot;; font-size: 13px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n__________\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nHans Theys\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cstrong\u003eInferno\u0026rsquo;s Floor\u003cbr /\u003e\r\nNew collages by Damien De Lepeleire\u003c/strong\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nTwo years ago, during a residency at the Academia Belgica in Rome, Damien De Lepeleire (\u0026deg;1965) began to pay attention to so-called ornamental attributes of architectural achievements from the middle ages, the renaissance and the baroque period. Eventually this led him to study marble floors (e.g. the medieval cosmatesques) and the mosaics from ancient Rome. What strikes him in these mosaics, is how the visual simplification due to the use of square stones has produced a meeting between mathematics and color and an invention of graphic stratagems the like of which the art of painting didn\u0026rsquo;t enjoy until the 20\u003csup\u003eth\u003c/sup\u003e\u0026nbsp;century.\u003c/p\u003e\r\n\r\n\u003cp style=\"color: rgb(51, 51, 51); font-family: sans-serif,Arial,Verdana,\u0026amp;quot;trebuchet ms\u0026amp;quot;; font-size: 13px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003eOne might consider the resulting series of collage-paintings, assembled under the title\u0026nbsp;\u003cem\u003eInferno\u0026rsquo;s Floor\u003c/em\u003e, an homage of the major arts to the so-called minor ones. Gluing small cut-outs from newspapers and art books to canvas, De Lepeleire reconstructs ancient mosaics or invents new ones, shining a distorted light on the patterns of marble floors, the head of a Roman Medusa or Mike Tyson. These are amazing works, light-footed and stern at the same time, intimately linked with De Lepeleire\u0026rsquo;s previous work, but completely fresh. Paved with good intentions, this painter\u0026rsquo;s voyage through hell seems to produce more and more breathing space.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nMontagne de Miel, November 22\u003csup\u003end\u003c/sup\u003e\u0026nbsp;2017\u003c/p\u003e\r\n"},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[]}