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| © Katrien Vermeire 2000
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1979 Antwerp, Belgium
Lives and works in Antwerp.
contact: studio*elinedeclercq.com (* is @)
2018 founder of Wool Publishing,
collaborative art initiative and a platform for shared presentations
2017 - 2018 member of the board of directors NICC
2016 - 2017 assistant to Guillaume Bijl
After graduating in 2001 at KASK Gent, I needed some time to see how my work would evolve. I combined a studio practice with an international job as designer, this allowed me to spend some years travelling abroad, with twice per year a stay in Japan. The result of these nomadic years is that I have an international view on art and culture with a multitude of influences. In 2016 I returned to my studio in Antwerp.
My style is a mix of European tradition in painting and Eastern values on imperfection and emptiness. My paintings and drawings refer to feminist topics, a critical reading of art history, a questioning of the role of art and representation of minorities. The lesbian* gaze is an important aspect of the work. My paintings answer the lack of a divers representation of a lesbian gaze. My subjects are not narrowed down to the axes of gender and sexuality, instead I show the lack of a lesbian reflection in our society and what this means in shaping an identity.
I like to work in collaborations with other artists, my exhibitions are never solo, but shared with others and completed with workshops and artist talks. For this purpose I founded Wool Publishing in 2018, a shared platform.
Lives and works in Antwerp.
contact: studio*elinedeclercq.com (* is @)
2018 founder of Wool Publishing,
collaborative art initiative and a platform for shared presentations
2017 - 2018 member of the board of directors NICC
2016 - 2017 assistant to Guillaume Bijl
2005 - 2016 design for Koos Netherlands / Japan
2001 graduated, master in painting KASK Gent Royal Academy
1979 born in Antwerp 2001 graduated, master in painting KASK Gent Royal Academy
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| Twin Portraits of historic figures and contemporary photography, various sizes, prints and oil on canvas 2019 |
After graduating in 2001 at KASK Gent, I needed some time to see how my work would evolve. I combined a studio practice with an international job as designer, this allowed me to spend some years travelling abroad, with twice per year a stay in Japan. The result of these nomadic years is that I have an international view on art and culture with a multitude of influences. In 2016 I returned to my studio in Antwerp.
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| For Judith Leyster 1635 - 2019, 45 x30 cm oil on canvas |
My style is a mix of European tradition in painting and Eastern values on imperfection and emptiness. My paintings and drawings refer to feminist topics, a critical reading of art history, a questioning of the role of art and representation of minorities. The lesbian* gaze is an important aspect of the work. My paintings answer the lack of a divers representation of a lesbian gaze. My subjects are not narrowed down to the axes of gender and sexuality, instead I show the lack of a lesbian reflection in our society and what this means in shaping an identity.
I like to work in collaborations with other artists, my exhibitions are never solo, but shared with others and completed with workshops and artist talks. For this purpose I founded Wool Publishing in 2018, a shared platform.
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| The Lesbian Gaze, 2019, oil on canvas |
The paintings and drawings of trees are an ongoing series on natural shapes. Taking inspiration from forests and gardens. The different kinds of plants and trees create an ecological environment where diversity is the norm and where I look for answers on intersectionality.
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| Arboretum Kalmthout, 40x30cm, oil on canvas, 2018 |
WORLD WITHOUT END
World Without End reads like a catalogue of everything, it is a series of simple drawings inspired by my accumulated interests in art, history, geography, crafts and nature. The challenge is to draw what gives pleasure in an art practice. The appropriation of topics can be vast, from Cézanne's pigeon tower and the statues by Phidias to Japanese teacups, Flemish lace and a covid-19 lockdown diary. My drawing style reduces these images to their essence.
The origin of these drawings comes from a Japanese tea bowl. The hand shaped cup was not perfect and this made it an interesting drawing.
I
tried to draw a face like I had drawn the tea bowl: functional and
without decoration. The eye is just as important as the nose or the
chin, every part counts and nothing should overrule. This style in
combination with the endless series of drawings are the 'World Without
End', named after a phrase in Agatha Christie's books.
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| Studio view 2020 |
For more information:
studio ( at ) elinedeclercq.com
studio ( at ) elinedeclercq.com
All works photographed and published on this website are © Eline De Clercq except when mentioned otherwise. E & OE
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