18 january 2022, Flor Linckens
Matthijs Kimpe: “The news on that Thursday evening resulted in the creation of an exciting new visual.”
Until 23 January, TATJANA PIETERS in Ghent is showing the exhibition 'Turbulent Images', with work by Matthijs Kimpe.
An lcd-filter, a custom polariser, a Fresnel lens (used in cameras, theater lighting, projectors and lighthouses, among others), fiberglass mesh, and iridescent vinyl. It’s a random selection of the surprising materials that the Belgian artist Matthijs Kimpe applies in his practice. It results in a series of works that look slightly different from every angle, reserving an active role for the viewer. By framing his works and by adding materials like spray paint, lacquer or acrylic paint, his works are still directly related to the discipline of painting.
It’s no surprise that the Bruges-born artist initially studied graphic design at the KASK in Ghent, followed by an education in painting at Sint-Lucas. It explains his preference for a combination of modern image techniques, optical materials and classical painting techniques. In his paintings, digital and virtual images acquire an analog quality.
Matthijs Kimpe, Untitled, 2021, TATJANA PIETERS
The artist also makes extensive use of colour theory, for example through the application of complementary colours. Colour models like RGB (for screens) and CMYK (for printing) also play a significant role, systems that Kimpe became better acquainted with during his graphic design studies. A combination of these colour models will have an intriguing effect on our perception.
Screens are omnipresent in our lives. Research shows that the youngest generations often use three screens simultaneously: Netflix on the TV, a half-finished paper on your computer screen and IMDB or Instagram on your smartphone. These devices are capable of infinite reproduction — directly or indirectly; an issue that the German philosopher Walter Benjamin addressed as early as 1935, in the context of photography. What could that mean for the aura of a work of art, the authenticity and authority of art and art production in general? It is therefore not surprising that artists such as Kimpe opt for a deconstruction and manipulation of the optical techniques that hide behind these screens, in order to arrive at a new function, in unique works that are difficult to reproduce (exactly).
Kimpe is interested in the ways in which people react to images and optical illusions. He experiments to his heart's content: what effect does a certain combination of materials have and which images are then created, whether by accident or not? Kimpe strives for a certain balance, with chaos and turbulence as the starting point.
Matthijs Kimpe, Untitled, 2021, TATJANA PIETERS
Kimpe: “On a quiet evening at home, I happened to notice something. My television set had a bad connection, so I had to adjust the antenna. During my search for a better signal, I suddenly paid attention to the visuals of my device. The bad connection caused the colour of the image to “snow” softly, a kind of white noise. The news on that Thursday evening resulted in the creation of an exciting new visual. The figures on the screen became mystical shadows, which, veiled, showed a different meaning to me. The distorted scenes hid in a way, and peaked my curiosity. The individuals became depersonalised. They seemed to become an archetype of their nature. The images were also given an unusual texture. Colour drummed together in clusters. Light and shadow distorted into a mere suggestion of form.”
Matthijs Kimpe, Untitled, 2021, TATJANA PIETERS
