20 may 2024, Wouter van den Eijkel
The studio of... Jef Gysen
It may sound improbable for someone fascinated by the effect of oil paint on canvas, but Jef Gysen usually works under artificial light. He wakes up every day at four o'clock to work in peace on an oeuvre centred around exploring labyrinthine spaces, greenhouses and real estate, as well as the physical interaction between paint, brush and canvas. To Gysen, painting is a kind of journey of discovery, a process of continual growth and evolution as an artist.
The foundation of his work has always been a model. In the series Dwaalruimte, which can be seen in the duo exhibition with Bert Timmermans, he links the freedom to wander with the concept of getting lost in buildings. This inspired him to capture the complexity of buildings and spaces. New work is also on display, centred around a model of an artificial forest. Gysen calls it a new direction in his oeuvre.
The duo exhibition with recent work by Jef Gysen and Bert Timmermans can be seen until 23 June at the Shoobil Gallery.
Where is your studio and what does it look like?
My studio is next to my house in an old farmhouse located in Sinaai, which is a rural area. When you enter, the first thing that catches your eye is clutter, with paintbrushes and canvases scattered around. The studio is spacious and open, with high ceilings that extend to the roof beams. This creates a sense of space and freedom. All around me, you can see the model I use for inspiration, studies and paintings in progress. It is a place where I can express my thoughts and feelings through my work. The fact that my studio is connected to my home gives a sense of continuity and intimacy. It’s a fantastic space to work and bring my vision to life.
Jef Gysen, Dwaalruimte, 2022, Shoobil
What makes a good studio for you: natural daylight, plenty of storage or friends and colleagues nearby?
I prefer to work in artificial light. It's something I've discovered and embraced over the years. I'm an early riser and there's nothing like the feeling of getting up at around four in the morning and heading to my studio. It's the time when the world is just waking up and I enjoy watching nature slowly unfold as I work. My storage space is a sea container in my garden. Hanging recent work in a separate, noise-free space adds an extra dimension and allows me to view and evaluate my work in peace without any distractions.
What does a typical day in your studio look like? Do you follow a fixed daily schedule, play music or do you prefer to keep the door closed?
In my studio, I thrive best in a state of flow. Getting up early and going to bed early creates a rhythm in my workday that helps me get into the creative groove. It is a routine that allows me to maintain focus and be productive. Music is an essential part of that process. It varies considerably because it influences the energy I want to convey in a work of art. I prefer to be alone in my studio until my work is finished, enjoying a sense of seclusion and focus. It is comforting to know that the studio is all mine, a safe haven where I can express myself without distractions or interruptions.
Jef Gysen, The Woods, 2024, Shoobil
Since your work is about spatiality, you must have some thoughts about the perfect studio. What would that look like?
The perfect studio would combine the comfort and familiarity of my current space with the freedom and connection to nature of an outdoor studio, where I can work among the natural elements, a place where I can hear the sounds of birds and smell the outdoors. The outdoor studio would be an extension of my current space.
Congratulations on your duo exhibition at Shoobil! Several works from the Dwaalruimte series are on display. Can you briefly explain them?
The Dwaalruimte series stems from my earlier works, particularly the real estate series and the series featuring conservatories. In this series, I explore the concept of labyrinthine spaces, linking the freedom to wander to literally getting lost in buildings. This inspired me to capture the complexity of these spaces. The work I am showing in the duo exhibition with Bert Timmermans is all based on my latest model of an artificial forest, which I will also be showing and which represents a new direction in my work.
Jef Gysen, Shoobil
What is that new direction?
It’s difficult to fully define it at this point. I have always explored the tension between abstraction and figuration. But over time I have discovered a certain logic emerging in my approach. I now feel the urge to break this logic and approach my process more intuitively and experimentally. The model I now use is made of a simpler material, namely wood, and is monochrome. And it is now also a work that can be displayed.
When I look at the paintings, I get the sense that you want to explore spatiality. Am I right and if so, why does that interest you?
In my process, the act of painting itself is the focus rather than a specific theme. Right now, I am particularly fascinated by the elementary techniques with which a flat surface can suggest depth and space. Although I do not explicitly conduct thematic research, I am strongly inspired by the fundamental procedures involved in depicting pictorial space. My models originate in that process, one in which I try to discover and develop a level of visual understanding. I am also deeply fascinated by the effect and wonders of oil paint on canvas. My work process is not only about exploring visual concepts, but also the physical interaction between paint, brush and canvas.
Jef Gysen, Dwaalruimte, 2022, Shoobil
I understood that for this series, you make models in your studio and disassemble and rearrange them each time. Do you remember the first time you used this method?
The use of models is something that emerged quite early in my artistic practice. I remember being inspired by stacks of glass and even shattered figurines, which served as the basis for still life studies. I’ve also experimented with cutting entire stacks of foam to create sculptures. These sculptures then served as models for my paintings. It is a process of experimentation and discovery that has shaped my artistic vision and contributed to my ongoing exploration of space, texture and composition.
You had your first solo exhibition in 1993, which is more than 30 years ago. What have you discovered since then that you wish you had known in the early '90s?
I consider myself lucky to have had the opportunity to start painting immediately after graduating. I don't really consider painting as 'inventing something' in the traditional sense. To me, it is more a journey of discovery, a process of continual growth and evolution as an artist. I still enjoy that process and that journey, as well as the ongoing exploration of the possibilities of painting. Each day is a new opportunity to learn and grow and I look forward to seeing what the next 30 years will bring.
Jef Gysen, The Woods, 2024, Shoobil
What are you currently working on?
Right now, I am busy with the final preparations for the duo exhibition with Bert Timmermans. I am also looking forward to preparing for an exhibition at CC Geel, scheduled for January 2025. This exhibition will be a collaboration with Paul Bourgeois and Jef Faes. Right now, I am exploring new directions and ideas to give this exhibition a fresh twist. The preparations for this are already in my mind and after the opening, I will immerse myself fully in experimenting and creating new work.
