While the first days with intense sunshine drive everyone to the outdoor cafés of the Antwerp city centre, I seek (mental) refreshment along the water. It's quiet there and it makes me wonder how a few hundred meters can make such a difference. On the Napoleonkaai, Gert Junes awaits in Art Partout Gallery to introduce me to the work of Mathieu V. Staelens, an encounter not to be quickly forgotten.
As stated on the website, Mathieu V. Staelens was born on a ‘salty day’ in 1980 in Ostend. How should we envision that? A hot summer’s day where seawater dries into salty circles on the skin of swimmers? Or a harsh winter day on which hurried passers-by, tucked deeply into their coats, see the beach sand advancing over the dyke to mercilessly nestle in skin and hair? What we do know is that he not only holds a Master's degree in painting, but also did a postdoc in the conservation of modern art alongside a philosophical study programme at UA. It therefore comes as no wonder that the title of this exhibition, SUSTAINABLE Love 4 Life, is shrouded in a mystical-philosophical haze. It suggests a pursuit of a kind of love that is sustainable, that can withstand the test of time and that lasts a lifetime.
Ars longa, vita brevis
In a world in which everything changes quickly and nothing seems permanent, the term 'sustainable love' raises questions about the nature of love itself. Is love something that can be maintained and preserved like a precious artifact? Or is it rather a living, breathing entity that grows, changes and evolves along with us? The '4 Life' in the title suggests a commitment to this sustainable love, not only for a moment, a day or a year, but for a lifetime. It conjures up an image of a love that not only withstands the challenges of life, but also nurtures and supports, serves as a source of strength and inspiration. This title invites us to reflect on the nature of love, on our relationships with others and with ourselves. It asks us to consider how we can cultivate love in our lives in a way that is sustainable and life-affirming. It is a call to reflection, to introspection and ultimately to action – to seek, cherish and preserve love, not only for a moment, but for life. But how does this title translate into the work we see?
Skeletons with a soul
There is little evidence, however, of the sustainable love mentioned in the title in the works. Humans are not present, with the exception of two skeletons that – I almost dare not write – exert an almost erotic attraction. Skeletons and Ostend, the two will always remain inseparable in the figure of James Ensor. But Staelens certainly does not want to be an Ensor disciple. The skeletons are too, well, human for that. The artist describes them as 'excarnated figuration'. A bit of research tells me that this term from religious philosophy refers to 'cutting ties with God', a fact that is certainly garnishing more and more to attention these days. But at the same time, the skeleton also forms a 'pure' image without any external connotations. A skeleton has no race or gender. A skeleton has no social or professional status. A skeleton comes from everywhere and nowhere. A clear statement in these times of compartmentalised thinking. But nothing could be further from the truth with Staelens. He positions his skeletons in sensual poses and provides them with matching attire. The fabrics have endured the test of time better than the bones themselves. The skulls gaze at visitors, not with hollow, but full eyes. Subtly, the artist paints eyes in the empty sockets – eyes as mirrors of the soul, a soul that is immortal and devoid of all prejudice.
Nature by infusion
The works that form a complete revelation for me are the still lifes. I still struggle with this term, which in French – 'nature morte' – claims just the opposite. Life and death as complete opposites. But on closer inspection, I opt for the term 'still life' together with Staelens. And ‘still’ is exactly what the artist shows us with works like The Personal Invitation and A Date with History. Both works depict a dystopian worldview of nature literally by infusion. As long as there is hope, there is life.
The Personal Invitation takes us to an idyllic city garden enjoying the (first) rays of sunshine. We see a still life on a table in a sunny garden, lush with flowers and plants. Unlike the decay of the skeletons, there is not a single withered leaf disturbing the bucolic whole. It is an almost photorealistic image for those who do not take the time to take in the splendour of colours. Because even though the flora in the foreground seems to come to life before our eyes, an attentive viewer will notice that the tree and its accompanying foliage originate from impressionistic strokes. Yet, there is a subtle paradox in this idyllic scene: a single red apple, connected to a drip, speaks volumes about the fragility of life and our eternal quest for vitality.
But it is not only the visual elements that make Staelens' work so compelling. It is his ability to evoke existential questions, to challenge us to contemplate our place in the world. The Personal Invitation invites us to reflect on the fragility of life and our responsibility to create our own meaningful place in the world. It calls for profound introspection, for the realisation that we are all architects of our own destiny.
But what truly sets this exhibition apart is Staelens' ability to not only engage the viewer with his work but also to create a sense of deep connection between individuals. Through his paintings, he invites us to share our own experiences, to think together about the deeper meaning of life and our place in it. It is an experience that is not only aesthetically satisfying, but also existentially enriching. All in all, SUSTAINABLE Love 4 Life is an immersive journey through the depths of human connection, an invitation to reflect on our place in the world and our responsibility to lead a meaningful life. With its profound reflections, philosophical musings and visually stunning paintings, Mathieu V. Staelens leaves a lasting impression that will stay with us long after the exhibition ends.
Next week is Antwerp Art Weekend. In addition to the official programme, many other galleries will also be opening their doors to the general public. Art Partout should definitely not be missed. Gallery owner Gert Junes has decided to extend the exhibition by a week, so there is no excuse not to go and experience this fascinating artist.