1997 The painter confronts his paintings with art installations and with viewing boxes.
In 1997 he exhibited a series of paintings in Antwerp where he introduced the theories of “constructive blue symbolism”: in one and the same exhibit he combines trends of the most antinomic art. The painter confronts his works with figurative, detailed and realistic paintings, with art installations and with viewing boxes. Most of the latter are done on the model of what has originally been painted (the conceptualist notion). The confrontation calls up a symbolic reading of the whole.
With regards to the confrontation of installation-painting, these were made well before the works of Martin Eder (School of Fine Arts in Dresden), who started in Germany from 2001 onwards. The visualisation of objects in the paintings is a reflection on the “Magrittian” concept “this is not a pipe!”
To actually put those objects back in their boxes reaffirms ” . . but that is really a pipe!” In connection with “that is not a pipe”, the blue symbolism suggests an alternative reading rehabilitating the image:
“We can build sand castles knowing that they will not last as long as their image or even their photograph. They are illustrations of the brevity of our own life. Every game has an importance of initiative and psychology. Its essence leads it to its own brevity. The paradox of the image is to be able to survive its prototype: the sand castle may have disappeared long ago, the child who has built it will have become an old person and only a fragile and yellowing photograph will have remained, an image of a child building a sand castle . . .”
Thus the theme of memory and time is already implicitly reached at that time: the sand castle will not last but for several hours, the childhood for several years, the photograph or the drawing is perhaps destined to last for a century and the painting, executed with the techniques used before the impressionist movement, maybe several centuries. Of course, the making thereof is that of a real sand castle.