20 january 2023, Flor Linckens
The width of abstraction in ZEIT
Until 28 January, ZEIT in Antwerp is presenting a group exhibition in which the work of three contemporary artists, an important figure in the field of post-war geometric abstraction and a designer slash engineer are combined in an exciting way.
Their work is characterised by abstraction and almost all works on display catch the eye because of their dynamic use of colour. The most striking contrast arises between the soft, round cells of Ilse Pierard and the rigid geometric abstraction of Guy Vandenbranden. The works of designer Andreas Biront and artists Myriam Vangenechten and Kees van de Wal balance between hard and soft forms.
In her abstract practice, Ilse Pierard depicts the cell, the smallest life form on earth. All organisms are made up of cells, from millions of single-celled species to humans, which can consist of as many as 37.2 trillion cells. These cells can reproduce and regenerate themselves infinitely and the most intelligent cells can even store memory. Pierard's work is an ode to the cell and the soft vulnerability and enormous existential power it contains. At the same time, the cell is also a symbol or metaphor for a certain essence or origin and life in general. Pierard depicts these oval cells in intuitive collages, drawings and paintings in a visual language that radiates the same strength and vulnerability. The chosen materials represent a certain fragility and simplicity, while the popping colours radiate an intrinsic strength. In the exhibition in ZEIT you can see the versatility in her use of materials, which varies from foil, tissue paper and parchment paper to felt, ecoline and acrylic paint.
The famous artist Guy Vandenbranden hardly needs an introduction, he is considered one of the leading Belgian constructivists from the post-war Belgian avant-garde. In 1951 there is a turnaround in his practice and from then on, the artist prefers lyrical abstraction over figurative work. Vandenbranden worked in the tradition of artists such as Piet Mondrian and Victor Vasarely and was influenced by Op Art and American Hard Edge artists, but developed a unique personal style within those frameworks. His lively use of form and colour suggests movement and depth. The works shown in the ZEIT exhibition date from 1969 and 1980 and are executed in sleek, geometric shapes, in combinations of pastel and more striking colours. Vandenbranden remained active until his death in 2014.
Myriam Vangenechten shows a series of playful, silver-coloured sculptures in polished aluminum at ZEIT, some of which are modular. They invite the buyer to come up with a different configuration each time, so that the work of art can always take on new forms. It will come as no surprise to the viewer that Vangenechten has a background in architecture, which means that notions of scale, beauty and proportion visibly shine through in her practice.
Kees van de Wal presents a series of artworks in which hard and soft forms alternate. Nice detail: his latest works were inspired by an envelope that the artist found in the attic, containing a series of drawings and collages from the artist's childhood. This resulted in cheerful, colourful and structured works that contain a childlike dynamic and free independence. Van de Wal started his art practice painting landscapes and although his practice is nowadays characterised by abstraction, his current work contains abstracted elements from that same landscape, often based on photographs that were taken by the artist. Van de Wal is also looking for a certain essence and the ultimate form.
The artworks in the exhibition are accompanied by designs by Andreas Biront, who has a background in Aerospace Engineering. His 3D-printed furniture is made in a very small edition and consists entirely of recycled materials. Biront also refers to nature in his use of colour and form, specifically the Amazon rainforest. His work also visually refers to the extinction rates of flora and fauna in the same area.
