Détour Episode 1
From November 18th 2005 to March 26th 2006


Why did you choose figuration at a time when informal art was omnipresent?

There was indeed a sort of imperialism in this non-figurative painting whereby if you didn’t paint “abstract” then you were considered a little crazy. I did try doing “that” in the beginning but I realized it wasn’t for me. I threw in the towel in 1962. […] It was when I saw American Pop artist pictures in magazines that I knew that was what I should be doing. If you’re not turned on by everyday things then you’re somehow not real.

Your work focuses on the assembly, the association of ideas and images …

I’m a guy who does collages. It’s the same theory as Surrealists – you bring two different pictures together and this confrontation mentally creates another picture. And this “collage” is an assembly! I realize now that everything I do is connected to my childhood. I often went to the cinema to watch B-series American films noirs. For me they were better made, quicker and the people walked around in a manner I liked – it made me dream! When I re-watch them today, I’ve got to admit that three quarters of these films are trashy.

For the MAC/VAL you’ve designed a special set-up with an intricate collection of paintings hanging within a coloured spiral …

The spiral is one shape which can have a little meaning. You know, life is a little like that, ideally. We start in a sad state and rise up to the centre in the light. For the walls, it’s a big deal! The paintings are chosen depending on how they fit on the layered picture rails.


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