17 january 2022, Oscar van Gelderen
Ask an art collector... Tom Poelmans
What do art lovers like? Where do they buy their art and, most importantly, what do they buy? Every Monday an enthusiast tells about his love for art in this section. This week it's Tom Poelmans (artist)
What does art mean to you?
Art literally and figuratively means a lot. The way we see things is usually influenced by what we know and believe; a work of art can undermine or affect everything. In itself, a work of art should be something exciting, I think, in the positive sense of the word.
Were you exposed to art while growing up?
Not really, I had to discover everything myself. As a child I was always and everywhere drawing; at school, during family gatherings, during the summer holidays. In retrospect, the choice to go to art school and study painting was a logical step. And after that study, the interest in art is something that really stuck with me and only grew.
Where do you read about the latest developments in the art world?
Mostly online. I read and follow a lot, but I prefer to do so from a distance, I don't necessarily want to discover the latest things. I prefer doing it in an organic way, rather than always immediately following the latest hipster stuff. If you happen to be a little later with something to discover, that can of course be a disadvantage.
Where do you prefer to look at art?You must be able to see a painting in person from very close by! I would prefer a museum, I like the sacred, quiet spaces in a museum where you can view the works of art well and slowly – from a distance and up close, at your own pace.
How often do you buy art each year?
As an artist myself my buying rhythm depends a bit on my selling rhythm: if I’ve had an exhibition myself or have sold some works, I always try to invest some of that amount back in someone else's art. And as an artist you can sometimes exchange works, which is of course a nice advantage. And a privilege, because I have a very different connotation of the works and the artist: the commercial aspect is not involved. I prefer a unique work, but we have a few editions; these are usually by modernist artists, as unique paintings are beyond our budget.
The ‘masterpiece’ in our collection is a coloured etching by James Ensor from 1888, entitled De Ontucht ('The Fornication'). The work is part of the series 'The seven deadly sins'; it is not an end in itself, but to collect the seven etchings, that would be nice. We were also able to exchange a great work with Denie Put and Dennis Tyfus, as well as a number of works by Thé van Bergen, Bendt Eyckermans, Benny Bischoff, Nick Andrews, Nadia Naveau, Nel Aerts and Navid Nuur.
Where do you do your buying: in a gallery, at an art fair, at an auction or online?
Occasionally in a gallery, but I am mainly interested in auctions. If you have succeeded, you can buy things for a good price. An auction is always unpredictable and varied in terms of artwork, I like that.
Is it important that you and your partner always agree on a purchase?
Since I got together with Amber Andrews, our collection has melted together. She is a painter as well, so we have a good (critical) eye, I think, and then it makes sense that it is important that we both agree on the purchase and/or exchange of a work of art.
Do you have a special relationship with any one gallery?
We naturally have a special bond with the galleries Amber and I work with; for me that is galerie rodolphe janssen in Brussels, and for Amber that is Sofie Van de Velde in Antwerp and Ciaccia Levi in Paris. I like to visit galleries in Brussels, especially Clearing and Xavier Hufkens; not only are the artists captivating, but the spaces themselves are fantastic as well. I follow their programme closely. In Antwerp I have sympathy for De Zwarte Panter, that gallery has been around since 1968 (!), still with the same gallery owner and since 1970 still at the same location; a beautiful old chapel, a courtyard with several rooms behind it. I also regularly visit Base-Alpha Gallery, and Zeno X.
But actually we usually follow the artists themselves that we find interesting. Ultimately, a gallery is the connection between artist and buyer, and I find it more exciting to contact the artist himself (if he is open to this) and see the studio, the maker's breeding ground! If you see that, you need little explanation about the works.
If you had an unlimited budget, whose work would you buy?
That's a difficult question, I could name a hundred. An early work by Philip Guston or David Hockney, Martin Kippenberger, Henri Rousseau, Gustave Van de Woestyne, Philippe Vandenberg or George Condo: there's always room for that. We already have a number of drawings by Walter Swennen, but a painting would also be welcome.
Who are your favourite artists?
I love the work 'Le monde à l'envers (the mask)' by Patrick Van Caeckenbergh; I have been following this artist for a long time. His works are poetic, honest and pure, he always reminds me of an outsider who is an insider.
I also love Jockum Nordström's work, since I saw his exhibition 'All I Have Learned and Forgotten Again' in 2013 at the LaM Lille Metropole Musee d'art moderne, in Lille, France, I have been a true fan. The work is at first sight very naive and funny, but it hides a certain sadness. The clumsy tinkering of the painted paper and cardboard only adds value.
The works of Matthias Weischer are also always fascinating; the combination of those thick layers of paint, the tight composition and fresh colours appeal to the imagination. I discovered him on a study trip while in art school, and have admired his work ever since.
