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Manuela Klerkx
The Art of Lying
The art world has its own unique approach to reality. And that reality may be synonymous with an illusion or misperception of the world in which we live, be it consciously or unconsciously. But this reality can also be supplemented, twisted or denied. Using six works of art by six different artists, I show the different forms in which untruth can manifest itself. In art, truth is also sometimes hidden in lies.
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The metamorphosis of a caterpillar into a butterfly is an impressive disguise. And isn’t a disguise a form of lying? After all, a person who disguises him or herself pretends to be something other than he or she really is. As a caterpillar, butterflies moult four to five times before growing into the beautiful creatures they become. Yet, here, too, appearances can be deceiving, because if the beauty of the orange colour attracts the attention of birds, its brightness functions as a warning sign, telling the bird it is best not to devour the Monarch butterfly, because it will get sick and vomit. The Monarch is danger disguised in beauty. Award-winning wildlife photographer Ingo Arndt (1968) studied the migration of Monarch butterflies from the north-eastern United States and southern Canada to the Oyamel spruce forests of Mexico where they hibernate. Through his extensive and intense research, he shows in his photographs how these and other butterfly species can be masters of disguise, yet also tricksters at mimicking venomous relatives to protect themselves from predators.
(Represented by SmithDavidson Gallery)
(Represented by SmithDavidson Gallery)
0 Media items ᛫ 9 Available artworks
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British artist James Aldridge (1971) is fascinated by the attraction of nature, which he does not explain but relates to something otherworldly, something spiritual. Although he lives and works in the middle of nature, he still feels like an outsider. For him, there is something mysterious about nature. And that mystery forms the basis for paintings in which he explores the tension between the reality of nature as it presents itself to him and that of the 'lie' in the form of his own fantasy and imagination. Aldridge explains, “I research how much decoration an image can handle before it is ruined. Representations of nature, such as images of birds, often symbolise more than just a reflection of reality. As a result, these elements form a provocative, mysterious presence in the painting. I am curious how I can connect these elements – not in chaos, but in harmony.” The power of Aldridge’s paintings lies in how he brings together the earthly and the mysterious, reality and fantasy in a world in which every contradiction has been eliminated and everything has become one big lie that every human being would like to believe.
(Represented by Christian Ouwens Galerie)
(Represented by Christian Ouwens Galerie)
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When it comes to age, there is a lot of lying and silence. This is deeply rooted in our culture. Everyone wants to grow old, but nobody wants to be old. And what we certainly don't want is for others to think we're old or to see us as old. The colourful work 'And How Old Are You' by Belgian artist Patrick Kellermans (1958) consists of a series of connected balloons – at least, it seems that way because at the beginning and end of the artwork, there is a floppy balloon and the countless colours and material in between seem to refer to balloons. The balloons to the left and right of the stick still need to be inflated. Or were they already filled with air and have now deflated? Isn't life like a series of balloons? Every year, you inflate a new balloon, which by the end of that year has once again deflated completely. How many balloons have deflated in your life? We like to lie about it. Just like the artist who suggests something similar to eternal youth with his cheerful balloons, while at the same time knowing that nothing could be further from the truth.
(Represented by Eva Steynen.Deviation(s))
(Represented by Eva Steynen.Deviation(s))
0 Media items ᛫ 8 Available artworks
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Counterfeiting an original drawing is a form of lying. After all, the counterfeit drawing is not the original, but a copy of the original. Or are they both originals now? Falsehoods manifest themselves in art as well, not only on the surface but also perhaps equally so in what is happening beneath it. When you penetrate more deeply into the different layers of art, you discover that what is painted or photographed may be a falsehood aimed at revealing the truth, often in a shocking way. By bringing her personal visual language into dialogue with the original, in this case through colours that are much more vivid than in the original, London-based Julie Cockburn (1966) emphasises the impossibility of copying something perfectly. The passing of time, our own history and perspectives mean that we never see, imitate or retell things exactly as they are or were. It is as if Cockburn wants to make us aware of the power of the 'lie' as part of our own interpretation and response.
(Represented by Galerie Ramakers)
(Represented by Galerie Ramakers)