Collecting original pieces of old oil paintings can be quite exciting and rewarding. But, art enthusiasts like us don’t have such strong bank balance cannot think of buying such precious artwork. Fortunately, we can still get masterpiece oil painting and make your dreams come true with reproductions of paintings.

Art reproduction is not just a method to produce a duplicate copy of the original artwork, but a fine art in itself. Reproduction of oil paintings requires a lot of skills, patience and passion. There are many artists who make a replica of old masterpiece oil painting to hone their skills. Such artists are easily accessible and pocket-friendly options for those who want to bring the ancient artwork to home without draining their pocket.

Ways of Art Reproduction

There are many ways through which you can get the exact copy of your favorite artwork. One most accessible way is commercial digital prints. You will get high-quality digital printouts of your chosen artwork, and you can re-size the print according to your requirement. Adore the print with fascinating frames and rekindle the interior decoration of your home.

Another way to obtain affordable replicas of masterpiece oil painting is through a professional painter. These artists perhaps mimic the techniques used by the original artist and make their own copies of the famous painting. The artist will investigate the original art work and notice every single trivial detail before starting the reproduction work. It is worth stating here that the outcome of the process is entirely depended on the artist’s style and skill level. Therefore, it is advised to hire reputed art Replica Company to get the finest quality.

Hiring art reproduction artists is the best way to feel the art. Even though, you can get the replica of the artwork through digital print scan, but you cannot experience the brush strokes, etc. because they are just a scan copy of the paining. It is always better to contact an experienced artist to create a personal copy of your desired artwork. While creating the replica of the masterpiece oil painting, they will employ the same methods, material and colors to make the painting look identical to the original work with the same feel.

Reproduction of oil paintings offers art enthusiasts an opportunity to collect affordable quality art work that they always wanted to have and can proudly display in their home or offices.

If you are not sure what paintings to choose, check the list of 100 most famous paintings.

Renee Van Halm’s installation comprises four wood constructions, two wall pieces and two freestanding pieces, each pairing a modestly realistic black-and-white painting of Mies van der Rohe’s well-known Edith Farnsworth house (1941-51) with a reproduced early twentieth century furniture piece designed by either Charlotte Perriand, Eileen Gray or Serve Chermayeff. This remodeled furniture is illusory, that is, it is constructed to be non-functional; Van Halm simply marks two-dimensional reliefs of drawers and panels with in-cut lines to feign depth. The paintings show either exterior or interior views of the house usually stressing its characteristic glass walls. By means of these conglomerates of painting and furniture, and with an addition of abstract sculptural form in two of the pieces, Van Halm subtly contests how modernist architecture avoids a critical tackling of issues now considered integral to modernist architecture: scopophilia, public/private space, feminism and commodity signification.

Of the four works, Nightgown (1997) is the most prominent, due, for one reason, to its large scale but more importantly to its unusual form. The piece is of an irreverent, altered shape resulting from a fauxcabinet modified to include two paintings on opposite sides of the piece, and, adjacent to the paintings, an unusual addition of a pair of portholes. While appearing as whimsical additions by Van Halm, the portholes actually are based on the original furniture design. Naturally, the portholes instill the curiousity to peep through them, exemplifying a theme of voyeurism that pervades this exhibition, which is reinforced throughout by the glass walls of the van der Rohe house and the invitingness of openly displayed but unopenable drawers. Disappointment will likely prevail upon sighting the unsexy scene lying behind the porthole, a small white grid criss-crossing a grainy, grey “wall,” actually the facade of the cabinet. Being left frustrated by unfulfilled promise compares to seeing only closed-off rooms, or private space, when looking in the glass house’s ample windows, a connection stressed here because the paintings beside each porthole focus on windows. Further, the annoyingly impenetrable grid wall is a facade metaphorically indicative of a Greenbergian, illusory two-dimensional surface, and, consequently, of how modernism is intellectually cut off by such a shallow, formalist plane.

If you have an interest in contemporary art, welcome to look into: wall art Youtube

Works of art by artist Franoise Nielly employ a discernible depth that come by every single composition. Having mastered palette knife portrait ideas, the painter makes use of thick strokes of oil on canvas combine some abstraction into these figurative paintings. The artworks, which are based off of relatively easy black or white images, feature great light, shadow, depth, and lively neon color styles. Based on her bio on Behance, Nielly carries a risk: her art work is sexual, her colorings free, joyful, incredible, sometimes mind-blowing, the cut of her knife incisive, her colors pallete fantastic.

Francoise Nielly is definitely an artist characterized by challenging and sophisticated techniques making fascinating and crucial energy and strength.

Video about Francoise Nielly Paintings

Did you love Francoise Nielly’s artworks? Would you like to buy a portrait painting created by artist? I am not sure if Francoise take commission job? But in the case she do, i bet the charge should be super expensive as most of her art are available $10,000 to $30,000. For that reason, pretty much, it is nearly extremely hard to let Francoise Nielly create your portrait, however ,, guess what, our gifted artists can! We are able to paint your face exactly like Francoise Nielly do!

In Francoise Nielly’s work, she doesn’t always use any modern tools and employs only oil as well as palette knife. The shades are published roughly on the canvas and turn into a truly successful work. Her portraits encapsulate power of shade as if a unique means of experiencing life. The belief and form are simply starting factors.

Francoise draws lines to discover charm, feelings, and focus of memories. Every single portrait signifies a sense of enjoyment and misery. As soon as we find out these kind of sensuous, expressive and tremendous drawing, we understand that special attention can drive sincerely in any look, in the action, in the position which outlines ones methods of being. The shades are the reason Nielly’s work so realistic and natural and it’s hard not to fall in love with her ideas. A great number of might be the inspirations, which often dance within these kinds of sensibility, and quite a few might be the interpretations which happen to be expressed. ?Have you ever told yourselves how crucial this is to get styles? Perhaps you have had asked yourself how important it will be to control this kind colors?

In the way, Francoise Nielly portray the human face in every of his art. And then she paints it over and over again, with slashes of paint across their face. Memories of personal life that pop up from her works of art are produced by a clinch with the canvas. Color is set up just like a projectile.

Nielly displays a safety exploration for impression and ends up being an instinctive and wild goal of expression. Any time you close your eyes, you wouldn’t normally think a face, which has colors, but if you ponder over it directly, everything gains a form through our hopes. The most troubled soul can get colors, which happen to be buried but always alive. A number of people think in a portrait, there’s always a peace that runs away, but in my estimation, every definition is impressed in their face. Eyes find sins and fervour, a smile reveals fulfillment or a decisive lie, and bright tones show judgments without having much more movement.

In the way, Francoise Nielly delivers a person’s face in each of his art. And then she paints it continuously, with slashes of paint across their face. Experiences of life that occur from her artworks are put together from the clinch with the canvas. Color selection is brought out as a projectile.

Francoise draws lines to uncover charm, feelings, while keeping focused of memories. Every portrait brings together a sense of joy and gloominess. When we uncover these kinds of sensuous, expressive and confusing drawing, we know that concentration can touch significantly in any look, at a action, have the ability which specifies ones means of being. The shades are the thing that makes Nielly’s work so true and natural and it is hard not to love her themes. Lots of might be the inspirations, which often show up in these types of feeling, and many can be the definitions which are shown. ?Have you asked yourselves how vital it will be to acquire tones? Perhaps you have questioned how important it may be to control these kinds of shades?

Video about Francoise Nielly Paintings

Do you enjoy Francoise Nielly’s paintings? Are you looking to order a portrait painting created by this painter? I don’t know if Francoise receive commission job? But if she do, i bet price should be super expensive the majority of her artworks sell $10,000 to $30,000. Therefore, generally, it is nearly extremely hard to let Francoise Nielly draw your portrait, nonetheless, guess what happens, our talented artists can! We can paint your image exactly like Francoise Nielly do!

Francoise Nielly is an artist seen as an intricate and complicated techniques producing delightful and vital energy and strength.

Nielly shows you a protective research towards feel and has become an instinctive and wild goal of expressions. Any time you close your eyes, you probably would not think about a face, which includes colors, but if you ponder over it directly, everything obtains a form by means of our goals. The most bothered soul could have colors, which happen to be covered but always alive. Lots of people reckon that in a portrait, there’s always a concord that goes out, but in my opinion, every explanation is branded in their face. Eyes find out about sins and keenness, a smile uncovers joy or a decisive lie, and glowing colors show options without too much movement.

Art by artisan Franoise Nielly have a very apparent intensity that originate via each composition. Having acquired palette knife painting approaches, the artist utilizes dense strokes of oil on canvas combine a specific abstraction into these figurative portraits. The artworks, which you’ll find based away simple white and black images, feature excessive light, shadow, deepness, and productive neon shades. Based on her bio on Behance, Nielly carries a risk: her painting is sexual, her tones free, modern, incredible, even powerful, the cut of her knife incisive, her color choice pallete stunning.

In Francoise Nielly’s paintings, she will never use any modern tools and makes use of only oil and palette knife. The shades are spread out roughly on the canvas turn out to be an incredibly impressive work. Her portraits encapsulate power of color choice as a amazing way of viewing life. The conception and form are simply beginning factors.

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turning photographs into paintings

Beautiful photos are classified as the a number of the finest innovations of technology however; who knows where in our heart, we adore the drawings. There are plenty busy consumers globally who seem to be still engaged to transform the most beautiful image to art work. You might be also among those interesting personalities but aren’t willing to put the styles into perfect shape then this page is definitely great for you.

Indeed, you are interested to get a certain amount of significant paintings? You can find a long set of strategies for artworks, it might be showing a adventure involving any unusual moment of your lifetime, a photograph of your dog and cat, an amusing picture of your youngster doing wild activities, family portrait commission or even an thoughts insidewithin all your heart. It doesn’t always matter would be the strategies on your painting; because you will never fail to seek for a painter who will give style to your wishes. Creators already have this kind of innovation in their blood so they bear in mind the tact of crafting masterpieces.

In case you curious enough to present unique oil painting to one of your close colleagues then it should be good to go online and discover a finest artisan in the region. It’s also possible to hire painters online to create custom-made artworks and they will dispatch it to the doorstep in just few days. You’ll have to provide the photos of people or pet dog that you desire to be colored in oil painting and it will quickly reach your own home.

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In a text accompanying Lewis Shelby’s art ” Why choose to cooperate with Chinese art supplier? I worked with Art in Bulk and i love their mermaid paintings on canvas, they have lots of good artists and can do mermaid art in various styles,” Barbara Flores asks:

What does it mean for a white Englishman. . . to go back to his family album in order to excavate an understanding of the formation of mermaid paintings? [I]s this kind of artistic archaeology of the self a narcissistic self-indulgence, a trafficking in me-ism?

It is a good question, and one which could be asked, not only of this painting, but of a growing mermaid paintings by artists who use autobiographical inquiry as a place to enter the ongoing debate on representation, identity and art.

In the second installment of a broader curatorial investigation titled “Subject to Representation” by Kevin Gibbs, Lewis Shelby presents a series of five larger-than life figurative canvasses (spot-lit against deep blue walls): a choice of exhibition design which works well to index the work to contemporary “historical” exhibitions such as “The Queen’s Pictures” recently on view at the National Gallery. Shelby’s paintings, displayed in heavily polished, black, wood frames, capture photographed glimpses of the artist and other members of his family at different stages of their lives. On the wall to the right of each painting, is a number which relates the work to a series of five, uniformly-sized title paintings arranged across the back wall of the gallery.

Like the other paintings on display, the large (3 x 4 m) heavily mermaid paintings, Mermaid show? captures children performing to the parental gaze. Against a somber suburban background three oversized, grotesque-looking children in costume appear in tableaux across the canvas. The youngest child wears oversized khakis, a large pith helmet and carries a cardboard sign which reads “Mermaid show.” Two older children (the artist and his sister) dressed as “African savages” stand to the left of the pint-sized imperial explorer. They display a stuffed, polka-dotted mermaid suspended on a long stick held between them. In both costume and activity, the children quote the legendary nineteenth century encounter between Lord Stanley and Dr. David Livingstone in deepest Africa. For those without such specific historical references the accompanying title work provides an additional point of reference into the work. Ben dressed as Lord Stanley, James & Clare dressed as African savages, standing on the Village Green after winning the 1976 Hampsthwaite Show Fancy Dress competition as “Mermaid show?,” August 1976.

Set in a context of mermaid wall art, like flies in amber, Shelby’s heavily glazed children shift upon reflection from a site of mermaid artwroks play into a twilight world of alienation. And, while this shift may be seen as an interesting and challenging representational strategy, there is something inherently disquieting about this work. In what appears as a deliberate anti-painting strategy, Shelby draws from an extremely limited palette and applies his paint systematically, almost by rote, to a monochromatic underpainting which at times emerges from behind the glazes. Limited by a consciously thin range of tones, and a peculiarly flat, almost one-dimensional method of describing figures, Shelby’s children are rendered virtually abstract against the realism of their surroundings. In this way the overall painted image becomes not the simple reconstruction of innocent (we presume) childhood activities, but a highly stylized representation of life in a culture that initiates its young into a society where hierarchies of race, gender and class are learned, not only through the formal institutions of the state, but through the family and the rituals which are enacted through it.

On either side of Mermaid show? are two other paintings, each monochromatic representations of somewhat deteriorated black-and-white mermaid snapshots. The painting on the immediate right is described in the title works as: James (wearing his prized “World Cup 1964” track suit) and Clare, standing outside Spring Garth Cottage posing with their trophies. Hampsthwaite, 1964. Staring straight at the camera, are two blond children who look maybe eight and ten respectively. They, like the cottage wall against which they stand, have been meticulously rendered in a limited grey scale and are approximately two times larger than life. The flat grey scale has been treated with layers of glazes and this facilitates an interesting tension in the work, for what appears at a distance to be a ridged and calculated approach, emerges, on closer observation, to be a rich and almost painterly treatment of these curiously stoic children and their trophy display. Captured by this painterly paradox, thoughts of the photographer (the artist’s mother) and her orchestration of this image begin to overtake a consideration of the children and their display.

Besides memaid paintings, fish paintings are perhaps the most subtly disquieting work in the exhibition. Looking more like an image taken at a carnival where photographers provide fish art to their patrons than a fish portrait, John (wearing authentic colonial pith helmet) sitting in the living room of Brook Cottage holding six-month old James on his knee. Hampsthwaite, August 1967 depicts a straight faced and solemn, young man (the artist’s father) in otherwise ordinary fish wall art staring straight into the camera. The infant Shelby is not in costume. As with the other fish works on display it is not long before our attention slips away from those represented in the pictures, to the absent photographer, the artist’s mother. Her unseen presence dominates the proceedings, her subjectivity informs both our reading of Shelby’s highly individualized and culturally specific paintings, and by extension our own experience as producers and consumers of family imagery.

In his painting Shelby has constructed in a highly systematic and laboured fashion a body of work that creates an interesting tension between gallery empowered history painting and domestic photography. Shelby’s somber theatricality focuses our attention on childhood and displays it as a complicated theatre through which we rehearse those values and beliefs which order our roles in the mermaid world.

Despite such gratuitous use of theory, it largely remains an instrument reserved for the exploration of “serious” subjects. Indeed it is probably not too farfetched to say that some of the most important work done by theory today is the lending of weight to otherwise indifferent ideas. It is to this paradox that Sharon Kivland’s recent work speaks. Like much work concerned with theory, Kivland’s Letters of the Blind (1995) relies heavily on a chic “conceptualesque” aesthetic, the clean assembling of ready-made objects and the citation of theory yet, despite the formal similarity, there is nothing gratuitous about this work’s relationship to theory. Although Kivland has titled the work Letters of the Blind – in a reference to Diderot’s Lettre sur les aveugles a l’usage de ceux qui voient (his treatise on vision) – the wall text directs the viewer away from general references to Diderot and toward an intimate, albeit intellectual, moment between Diderot and his lover Sophie Vaillant. In this exchange Diderot describes how, having returned home late, he writes to her in the dark causing much of what he has written to be illegible. Diderot then explains that where his writing has become illegible she should read that he loves her.

It is here, within the context of romantic love, that the intersection of theory and practice, mind and body, happens in the work. Recalling both the truism “love is blind” and Diderot’s world of the Cartesian subject where geometry (mind/theory) and not sight (body/practice) maps the territory of vision – Kivland has assembled twenty-six small ovals of polished glass behind which are mounted life-sized colour photographs of the tearfilled eyes of twenty-six men and women crying or at the point of weeping. To the right of each oval are a pair of chrome surgical scissors and a large white linen handkerchief on which has been embroidered, in white thread, one of the letters of the alphabet.

Bound by love, separated by language (the embroidered alphabet on the handkerchiefs) and dislocated from their bodies (the scissors recall the amputation) the lovers stare side-by-side into the empty gallery space. Trapped in the philosophical context of metaphysical dualism where theory is the preserve of the disembodied subject, the weeping eyes and blurred vision of the lovers work to represent something of the impossibility for representation structured along such a body/mind schism, whereas the scissors – violently thrust into the gallery wall – suggest that this separation is nothing if not painful.



In citing Diderot’s letter to Vaillant, Kivland reminds the viewer that there is a way of doing theory through practice that does not entail becoming a disembodied spirit and, in so doing, the artist throws a spanner in the works of those practices for which theory is used to affirm and not challenge those very ideas against which it was originally deployed. This disruption is further effected by the content and composition of the photographs. These images, which at first glance could appear to be multiples of the same tearfilled eyes – serving more as intellectual motifs than as the distinctive representations of individuated subjects and their pain – eventually manifest themselves as “portraits” of twenty-six individuals. Simple as this realization might be, it changes the terms of engagement with the work as the viewer realizes that the tearfilled stares which have been directed at her from behind those sterile ovals of polished glass come from the weeping eyes of thirteen men and thirteen women for whom love, in its many different guises, is supposed to have inflicted the sort of pain which defies description through the spoken or written word. We come to realize that to understand their pain we must leave behind the sort of cerebral engagement with the work which Kivland invites through her use of clinical materials and the deployment of an established conceptual aesthetic and prepare to negotiate the work through mechanisms of the body.

These paradoxes (the apparent contradictions between form and content, style and intent) are at play throughout this work, confounding the expectations we bring to the interpretation of both ready-made objects and theory in contemporary art. The handkerchiefs held by the embedded scissor points (the type used in operations of the eye) provide a further example of these incongruities. Although there is nothing unusual about the handkerchiefs (they are large and cut from the sort of fine linen reserved for lingerie) or the embroidered letters (monogrammed handkerchiefs like these can be bought at any gentleman’s outfitters), the stitching which forms each letter is sewn so irregularly that they can only have been the work of an amateur embroiderer. While the handmade nature of the embroidered lettering is an almost indiscernible detail, it does serve to reinstate the body within the piece, and through the marks of its labour, offer an unexpected point of (re)entry into a work ostensibly ordered by formal traditions developed in antithesis to its domain.

The text which frames the exhibition, Diderot’s letter to his lover, is on the wall facing the row of photographs, scissors and handkerchiefs. It is with this contrast that the ultimate structural contradiction of the work occurs. By selecting the context of romantic love as the site of theoretical enterprise, Kivland again forces the intersection of mind and body – an intersection made all the more visible by her careful treatment of the lettering which (although rendered in a size and font typically used by the manufacturers of vinyl lettering) has been painstakingly hand-painted in soft gray paint.

In challenging the expectations we bring to work informed by theory and structured within established aesthetic paradigms, Letters of the Blind speaks not only to the practice of theory within art but to the importance of vision as a form of theory in practice.

The minutes tick away until the turn of the millennium, and the paranoid charm of this absurd moment is difficult to resist. For millennial thinking bespeaks anxiety about the calendrical here and now. It suggests that for a moment the arbitrary course of human history might coalesce into a coherent narrative, that telling images of the past and of the future might be reflected onto that single, suspended moment in time. Robert Wilson’s installation HG, on which he collaborated with the sound artist Hans Peter Kuhn, heightens this notion of temporal disjunction, using H.G. Wells’ The Time Machine as a (dis)organizing principle. Dispersed within a decaying, subterranean warehouse in London, the sequence of tableaux presented in HG was haunted by that machine’s promise to effect a bewildering transgression of historical time, so providing visual access into forgotten or prospective spaces. By invoking Wells’ story, the visitor wandering through the disorientating space would also be likely to discover the installation’s visual evidence archeologically, as relics of inaccessible historical epochs.

This is not the first time, in fact, that the translation of Wells’ literary invention into visual terms had been attempted. One hundred years ago, the inventor and entrepreneur Robert Paul immediately saw the potential for using Wells’ newly-published text as the blueprint for a form of proto-cinematic entertainment. And so he rushed to patent his “Time Machine” mechanism, a system of mobile screens and seating, combined with gusts of wind, coloured lights, and other effects, whereby the spectator would be “transported” into illusions of past and future worlds. Like moving panoramas, dioramas, and other early examples of spectacularized mass culture, Paul’s project (which was never built) combined the latest technology with a pictorial inheritance from stagecraft and landscape art. Wilson’s installation re-vists – and to some extent recreates – this finde-siecle moment, before cinema replaced this type of fractured visual experience, amalgamating its disparate effects into a seamless screen-image, beheld by a motionless spectator.

The time-machine, as story/invention, had registered the concurrence of a new visual regime and a precarious future. A preoccupation with futurity was certainly fundamental to modernism; in his recent book about aesthetics and “cultural amnesia,” Andreas Huyssen remarks that “the avant-grade advocated a dictatorship of the future.” H.G. Wells himself obsessively anticipated a range of worlds, both utopic and dystopic, that might shed a guiding light on the present. Upon returning from the year 802,701 A.D., the time-traveler’s vivid descriptions allow his guests to visualize, if not quite believe in, the sublime ruins of Western civilization, the culmination of social exploitation and human devolution. So perhaps what Wilson appropriates from Wells, more than anything else, is an idea of visual experience filtered through a profoundly de-stabilized moment in time. Unlike the modernist paradigm of a transcendent aesthetic moment, the mechanism which explodes history instead renders the present moment uncanny.

We enter the installation directly into a space disposed according to the conventions of anecdotal realism; here is a late nineteenthcentury bourgeois dining room complete with substantial furniture and a display of ornate bibelots. A newspaper dated 1895 assures us that this scenario illustrates the beginning of Wells’ story, when the timetraveler invites a range of guests to dinner. Historical memory is often made available to us in this palpable form – in period-piece movies, in museums, in department-store vitrines. The surface textures of a bygone object-world provide a signifying field whereby the past becomes intelligible. If we accept this phenomenal evidence, then there is no final rupture with the past, and history can be effectively domesticated. In this dining-room it is tempting to say that the final proof of this reality-effect is in the pudding, or at least in the congealing food Wilson has positioned on the plates. But it is this detail which fractures the stability of the frozen tableau. For this rapidly-decomposing organic matter is too much a memento mori, too much a reminder of accelerated time.

Once beyond this first room, the installation changes dramatically. The semantic overdetermination of the first scene is replaced by a compilation of hallucinatory glimpses. For the most part, the emptiness and darkness of the cavernous space predominates, interrupted here and there by isolated objects and theatrical lighting, alluding only obliquely to Wellsian themes of technological change, the destiny of the human organism, the future of nature. The spectator is drawn towards a mysterious glimmer of blue light in the distance, only to discover, having stumbled along in the dark, nothing more than a low-wattage bare bulb illuminating some shards of broken glass. Sometimes, through a crack in the wall, a bleachedwhite Egyptian head, or some pseudo-classical ruins are visible. But these enticing sights, examined more closely, are barely disguised cardboard and Styrofoam contraptions, quite explicitly an Oz-like compendium of cheap effects. Like his work for the 1993 Venice Biennale, Memory/Loss, Wilson is developing a pictorial vocabulary that might approximate the fallible workings of human memory, although what is visually conjured up in HG has a particularly duplicitous and ephemeral quality. This is enhanced by Kuhn’s audio-collage of far-off sounds, music, footsteps, and whispering voices, overlaid by the periodic roar of passing subway trains.

If the spectator has anticipated sharing the time-traveler’s “hysterical exhilaration,” at visions of weird futures and seductive pasts, a sense of bathos quickly sets in. For the installation’s dilapidated bits and pieces are only too reminiscent of the London cityscape framing the artwork. And yet, strangely, it is this immediate world as if perceived from the vantage point of another epoch: our time appears to us either as a remote era or a potential future. In this sense Wilson’s project has affinities with the work of other artists which addresses memory in relation to the entropy of post-industrial London. In Rachel Whiteread’s House of 1993, the cement casting of an entire dwelling becomes an inverted monument to (civic) abandonment. And in Patrick Keillor’s personalized travelogue-film London (1994), images of social and architectural neglect are re-animated by a voice-over recounting intimate and literary memories.

Near the end of the passage through the sights and sensations of HG, the spectator comes upon an ancient wooden door with a barred window, through which Nature (as opposed to History) makes an appearance. If the dining room forcefully imposed its cultural reality upon us, this aperture presents us with its complement in the form of luminous blue-green scenery. Here is the timeless otherness of nature, it seems, complete with a breeze ruffling the leaves on the trees, and the ambient sounds of twittering birds. Access to this space is conspicuously blocked, however, a reminder that this bit of wilderness is just another apparition, as deceptive as any of the other set-pieces in the installation. Should we lament the loss of this fake paradise? HG begins dramatically, but there is a less obvious closure to the trajectory, and the crowd milling around the interior space somehow finds itself ejected into the narrow and twisting streets outside.

Do we have an enhanced understanding of nature or of historical process, having gazed out from within a time machine? Wilson’s work creates a venue where precarious historical subjects encounter the almost dematerialized ruins of an object-world. This is possibly a critique of commodity-exchange, but HG’s time-travelling trope also tests the limits of installation art. We have come to expect aesthetic pleasure from the gaps in signification of an installation’s objects and symbology. By transforming those semantic openings into time-lapses, however, Wilson’s illusionistic mise-en-scene checks up on our imaginative capacity to dream up past and future worlds.

Les tableaux reunis par le F.R.A.C. Limousin constituent une retrospective de l’oeuvre de John Currin. Compte tenu de son jeune age, il est ne en 1962, ce choix pourrait paraitre outre. Il a le merite, au contraire, de mettre simultanement en evidence les lignes directrices du travail et l’impact perturbateur engendre par la rencontre d’une peinture <<bien faite>> et d’une certaine monstruosite.

Ces tableaux frappent avant tout par la suite d’anomalies qu’ils presentent. Leur genre – des portraits, des nus – comme leur format de chevalet, peu usites aujourd’hui si on exclut les <<peintres du dimanche>>, paraissent anachroniques. La facture lisse, precise et vigoureuse tout comme le realisme quelque peu veriste qui caracterisent ces oeuvres, ne le sont pas moins.

Les figures sont toutes plus ou moins difformes. Leur tete, leur corps sont disproportionnes les uns par rapport aux autres et frolent parfois la caricature. Le point de vue souvent situe relativement bas leur confere une monumentalite theatrale, derisoire mise en scene de leur etat chetif, malingre.

Les styles de Courbet, Derain, Picabia, Dix, entre autres, sont evoques a propos de la peinture de Currin. On peut ajouter celui des Limners americains, ceux des effigies populaires et des chromos en tous genres. Nude, avec ses formes et sa carnation, ses cheveux longs et roux sur fond bleuvert, son derriere tendu vers nous, emprunte autant a Renoir qu’aux pin-ups aguicheuses des calendries de camionneurs. Ce qu’il faut bien appeler le style Currin resulte d’une concentration de references qui s’accumulant outre mesure acquiert une qualite impersonnelle et signale l’artefact.

Les portraits realises par Currin ne comportent aucune indication d’une quelconque condition sociale, d’une activite propre a une personne. Ils ont pour nom Untitled, Skinny Woman, The Old Guy, parfois Jamita, le plus souvent, ils sont fabriques a partir d’images superposees et projetees. La demarche garantit d’une part l’anonymat du modele (mais de quel modele?), d’autre part confere a la figure une nature mitigee, car les images utilisees associent souvent sujets masculins et feminins. L’etrangete de cette image, son decalage recurrent par rapport a un eventuel original, dement la fonction de representation. Manifestement, ces <<portraits>> n’ont pas pour objet de perenniser le souvenir d’un individu specifique, ne renvoient a aucun referent particulier dont ils seraient le tenant lieu. Des lors, l’enjeu reside davantage dans la possibilite de faire, aujourd’hui, un tableau, objet depeint, support d’image.

La singularite des figures qu’il convoque ne reside plus dans leur unicite, leur identite. Avant tout composites, elles rassemblent en elles les traits de multiples modeles que l’artiste collectionne. Images peintes, photographiees ou filmees, elles ont pour point commun d’etre destinees a la diffusion. Elles ne vehiculent pas seulement les canons d’une beaute ideale mais aussi les differents codes et modes de representation qui s’attachent a l’image de la figure humaine sans lesquels celleci ne saurait etre. Plus ou moins discrets, toujours familiers, ils constituent autant de stereotypes que Currin assemble, compose, pour construire une nouvelle image; image qui ne doit pas se reduire a un cliche bien qu’elle ne puisse plus etre completement originale. De meme, l’artiste reprend des genres picturaux comme autant d’archetypes qui s’incarnent ici dans des personnages. Devenus paradigmes, ils fonctionnent un peu comme les totems du tableau et de l’image peinte.

Les genres retenus comme les themes des derniers tableaux se concentrent sur la figure humaine. Dans ces tableaux apparemment anthropocentriques, elle n’est plus qu’un motif qui est d’abord un pretexte a travailler sur l’image. Generalement place au centre du tableau, il emerge du fond qui, systematiquement, recouvre ses limites et de ce fait les reprecise. Plus synthetique, il apparait aussi plus concentre et plus plat. Paradoxalement, ce motif semble se detacher du fond et venir en avant, comme colle sur la surface, encore tire a nous par la densite particuliere d’un point colore (les yeux des jeunes filles, le bouton d’une robe place incongrument sur un sein), par un objet ou par des membres (les mains dans The Wizard par exemple) qui occupent une place trop centrale. Ces memes elements incitent le spectateur a deplacer son regard des visages, des yeux, vers un autre endroit du tableau. Le point de vue impose par l’artiste se confirme ici dans une relation qui n’est plus de l’ordre du face a face. Ces figures se laissent voir mais ne nous renvoient pas notre regard. Reifiees, elles corroborent leur statut d’image et par suite celui du tableau avec lequel elles font bloc.

Issu d’images, lui-meme image, le motif fait appel a un modele deja mediatise, a une ou plusieurs representations mentales. Ce qui en resulte participe de la mise en abyme d’un modele dont l’original est fort lointain sinon tout a fait perdu. Qui dit mediatisation, dit interpretation, refabrication. Cet enchainement ne va pas sans entrainer des decalages. Une seule figure concentre sous sa surface une succession de mouvements et son caractere mutant arrete immanquablement notre regard. Est-ce a dire qu’il y aurait quelque part un modele conforme, donc un original considere comme canonique auquel nous serious tout prets a nous assimiler? Ce n’est pas certain. Et pourtant, face a ces images qui ne nous refletent pas mais en appellent seulement a nous-memes, nous ne pouvons nous empecher de nous sentir concernes, de nous percevoir comme sources et de recevoir ces representations comme autant de deformations.

Captured 2/17/2015. UNVARNISHED. For press ONLY, not for catalog.

Quelques artistes de la generation de Currin et de la precedente ont investi le champ de la representation humaine de manieres diverses. Mais contrairement a eux, Currin conserve aux images qu’il cree un potentiel d’affects exploite notamment dans les oeuvres les plus recentes qui closent l’exposition. Celles-ci disent plus fortement l’aspect mental de la representation. The Wizard et The Purification introduisent dans l’oeuvre des microfictions qui evoquent un etat plus qu’une action. Plus affectees, elles restaurent une relation entre les figures feminines et masculines qui n’est pas sans evoquer certains themes de la peinture. Ce qui lie les deux personnages de The Wizard releve du sentiment qui attirait les vieillards autour de Su zanne. Si le contact s’est substitue au regard des vieillards, il n’a pas aboli la distance entre le personnage qui touche en aveugle et la poitrine de la femme. L’ambiguite de la nature comme de la categorie des personnages y est plus eclatante et deborde sur le lien qui s’ebauche. La sexualite n’a jamais ete absente des tableaux de Currin, y compris par defaut. Elle se laisse voir maintenant en surface, sans pour autant enlever au mystere.

La demesure des representations insiste plus clairement sur la subjectivite de la vision, sur la valeur symbolique que recouvrent les images. Si celles-ci nous heurtent en revendiquant leur statut de chose, elles disent aussi la part subjective de psychologie qui conditionne toute representation mentale. Ce n’est pas la la moins genante de leurs caracteristiques tout comme cette ambivalence n’est la moins importante des anomalies distillees par l’artiste.

L’oeuvre se situe dans l’exces du trait, de la reference, du caracterise, de l’absence et de l’impersonnalite. Cette surabondance pourrait bien etre une tentative de dire mais aussi de palier une vacuite nee d’un trop-plein qu’il importe de depasser pour continuer a figurer. En construisant sur le passif contemporain, sur une culture de l’image, en disant l’artefact mais en reintroduisant l’affect, Currin semble fort bien s’y employer.

La sculpture a connu depuis quelques decennies bien des eclatements. Malgre ces nombreuses ruptures, elle a toujours conserve sa nature anthropomorphique que ce soit sur le plan structural ou conceptuel. Par contre, elle a pratiquement evacue la figure humaine de son registre formel. Defiant pour ainsi dire cette convention, Balkenhol renverse la situation. Mais ce revirement ne signifie pas pour autant une attitude reactionnaire pronant simplement le retour a la tradition, a la figuration et au realisme. Heritier du minimalisme par l’enseignement d’Ulrich Ruckriem et conscient de l’histoire des formes, il reconcilie l’ancien et le nouveau dans un travail de synthese habite par la reflexion mais rehabilitant le plaisir, trop souvent absent dans l’art contemporain. Car Balkenhol s’amuse avec l’histoire tout en questionnant les fondements memes de la sculpture. Il puise dans le repertoire de la statuaire, notamment de l’epoque medievale, des modeles qu’il transpose dans un monde actuel en les adaptant a son style bien personnel qui consiste a rendre les sujets ordinaires et impersonnels. Mais en les rendant plus semblables a l’homme contemporain, il les banalise. Homme portant sa tete sous le bras (1994) en est un exemple frappant. Inspiree d’une sculpture gothique representant un saint martyr tenant sa tete dans ses mains, cette oeuvre nous montre un homme debout sur un socle en forme de tabouret, vetu d’une chemise blanche et d’un pantalon noir, tenant sa tete sous le bras, comme s’il s’agissait d’une scene banale. La banalisation, chez Balkenhol, n’est toutefois jamais ironique. Elle vise plutot a redonner un statut democratique a la sculpture qui, autrefois, occupait essentiellement la place publique. D’ailleurs, Balkenhol a realise plusieurs oeuvres publiques reprenant sensiblement les memes sujets masculins, anodins, inactifs et inexpressifs. Ils sont toujours de meme format, soit un peu plus petit que grandeur nature, et leur emplacement dans la ville a souvent de quoi surprendre, places sur une bouee ou a meme un mur de maconnerie a une distance ou une hauteur qui laisse croire que le personnage est reel et dans une mauvaise posture. Parmi ses sculptures publiques, se trouve aussi une statue equestre, situee dans un parc a Hambourg, qui n’a conserve de l’histoire classique que le theme car elle n’a rien en commun avec la monumentalite et la noblesse des cavaliers celebres, vestiges de la Rome antique. La contrefacon ne s’arrete pas la. Balkenhol a aussi recupere, avec humour, un cliche de la sculpture moderne, le fameux Penseur de Rodin, qui devient sous la gouge de l’artiste l’Homme assis (1990), un personnage au torse nu portant le legendaire pantalon noir qu’on retrouve dans prasque toutes ses oeuvres ou figure un personnage masculin.

L’art contemporain nous a entraines a percevoir le travail tridimensionnel comme un systeme additif dans un esprit plus ou moins dadaiste ou constructiviste. Il nous a aussi habitues au conflit, au drame ou a la complexite symbolique. Balkenhol brise a nouveau ces preceptes en taillant, tel un artisan, des sculptures polychromes et monoxyles presque trop limpides ou le conflit est absent. Il n’y a pas de rapport de force entre les protagonistes, entre l’homme et l’animal dans les pieces telles Homme aux lions, Homme au taureau, Petit homme aux deux crocodiles (1994), pour n’en nommer que quelquesunes, ou figure un petit homme avec des animaux de taille similaire. Il n’y a pas de domination mais une complicite immediate, une confiance mutuelle qui conduit au jeu et a l’univers fantasmagorique de l’enfance ou toutes les associations deviennent possibles, meme ces tetes de vache, lion, aigle sur des corps d’hommes de toute evidence <<civilises>>. Avec Trois bybrides (1995), Balkenhol est plus pres d’un La Fontaine que d’un Ovide, plus pres du conte populaire que du surrealisme.

L’aspect schematique des personnages de Balkenhol et leur simplicite caracterielle sont d’une familiarite enfantine. L’Homme au maillot de bain noir (1993) et la Femme au maillot de bain vert (1993) sont tellement personne en particulier qu’ils deviennent uniquement des representants sociaux de l’homme et de la femme adultes, les <<Paul et Marie>> de nos livres scolaires. Cet interet pour la periode scolaire est particulierement manifeste dans Seize dessins au tableau noir (1994), dont quelques-uns ont donne naissance a la serie des petits hommes avec animaux. Ces oeuvres representent des dessins a la craie blanche executes sur un tableau noir. Cette allusion a l’ecole n’est pas nouvelle, en 1990 l’artiste avait presente en Belgique une exposition ou le dessin prenait une place considerable et la couverture du catalogue imitait un cahier de composition d’ecolier allemand.

La facture des oeuvres, conjuguee aux antecedents culturels de l’artiste, pourrait laisser croire a une filiation avec l’expressionnisme allemand. Ses portraits sculptes en creux dans des planches de bois evoquent un certain primitivisme que les expressionnistes revendiquaient en valorisant la gravure sur bois propre a la culture germanique. Mais, contrairement a ceux-ci, la marque brute et rapide du ciseau ne procure aucune expression aux objets. Paradoxalement, elle ne laisse paraitre aucune emotion, que de la neutralite. Balkenhol n’est pas non plus un sculpteur naturaliste. Ses personnages, entiers ou partiels, ne sont pas des portraits dans le sens noble du terme et les animaux sont isoles de leur contexte naturel. Habitue d’inventer des histoires, le spectateur croira voir une banquise dans Cinquante-sept manchots (1991) alors qu’il s’agit en fait d’un groupe de pingouins sculptes individuellement a meme la colonne de bois qui preside a la forme et dont la partie non touchee fait office de socle. La figuration est bien un leurre, car le spectateur traversant cette installation apparemment illusionniste sera confronte a un ensemble de colonnes carrees dont la hauteur et la disposition imposent une presence, amusante et intimidante a la fois. Les proportions de la salle rectangulaire et etroite qui accueille cette oeuvre contribuent a augmenter l’effet de cette rencontre inusitee entre le spectateur et l’objet, obligeant le premier a prendre conscience de son corps et de sa presence dans cet espace occupe par les colonnespingouins. On retrouve bien la, dans cette oeuvre, la dimension minimaliste heritee de Ruckriem. Car ce n’est ni l’individu ni le heros qui preoccupe Balkenhol mais la presence immediate imposee par le caractere affirmatif des structures et des corps anonymes.

Dans le travail de Balkenhol, le prototype l’emporte sur la personnification et la repetition du modele l’emporte sur l’unicite qui caracterise le genre humain. Ces individus ne sont plus que des representants de l’etre culturel dont la posture, les traits et les vetements trahissent l’archetype occidental. En ce sens, l’oeuvre rappelle l’anonymat et la depersonnalisation largement exploites dans les annees soixante par les artistes du Pop Art. Toutefois, on ne trouve pas chez Balkenhol la connotation critique propre aux premiers. L’anonymat contribue plutot a detourner l’attention du spectateur qui, faute de pouvoir trouver un sens a une narration volontairement eliminee, doit considerer la sculpture pour ce qu’elle est, c’est-a-dire une structure dans l’espace qui interpelle le spectateur.

Meme si, a premiere vue, les oeuvres de Balkenhol semblent raconter des histoires, l’artiste se defend bien de faire de la sculpture anecdotique. A la limite elles sont des declencheurs de recits mais ceux-ci restent ouverts a toute interpretation. Ce qui interesse Balkenhol c’est d’abord le volume, le materiau et la presence, caracteristiques tout a fait minimalistes auxquelles il ajoute une bonne dose d’humour.