juin 2012

Fabrice Samyn

Fabrice Samyn s'est joint récemment à la communauté d'auteurs membres de la SOFAM.

Jeune artiste plasticien diplômé de La Cambre, Samyn s'est rapidement distingué par son travail singulier, mêlant classicisme, innovation et poésie.

Fabrice Samyn est né à Bruxelles en 1981. Il vit et travaille à Bruxelles. Il est représenté par la Galerie Meessen De Clercq.

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    Cochlea Christi, 2011

    Sanguine on paper

    20,5 x 47,5 cm

    36 x 63,2 cm (framed)

    Courtesy the artist and Meessen De Clercq, Brussels

    Untitled (Fountain #6), 2011

    Oil on canvas

    150 x 100 cm

    Courtesy the artist and Meessen De Clercq, Brussels

    Untitled, 2011

    Oil on canvas

    180 x 120 cm

    Courtesy the artist and Meessen De Clercq, Brussels

    Julien, 2011

    Golden leaves on engraving found in public spaces (documented on inkjet photographic print)

    13 x 18 cm

    Courtesy the artist and Meessen De Clercq, Brussels

    Is looking in the mirror always looking back, 2011
    Oil on canvas
    120 x 80 cm

    Courtesy the artist and Meessen De Clercq, Brussels

    My work attempts to reveal time, or rather natural phenomena of time (erosion for example) as creative. It tries to show poetically the reality of enchanting phenomena. In accomplishing its work, time talks of the timeless. So, by defiguring a sculpture, an icon of beauty, into a "serious burn victim", an ambassador of ugliness, perhaps it transfigures that beauty. By bringing together these two extremes, time neutralises their antagonism. By "decapitating" ancient busts, it uses representations to challenge their necessity.
    When I draw by removing the dust on the walls and blinds of the city, my forms aim to maintain a doubt between the possibility of an accidental mark and the intention of a gesture. In the case of the flight of pigeons, how could the stealth of this moment have been "photogrammed" by the accumulation of dust? While hoping that, for the duration of a glance, the absurd risks being credible, because these drawings are inspired by the marks left by the impact of these birds against the windows. This work is a form of tribute paid publicly to the poetry of marks, which can be gentle or tragic, which enlivens the path of our everyday lives.

    Light, which I treat extensively in my paintings, is the counterpart of dust. Biblical references about our nature connected with dust , as well as to light reveal the importance of that link in founding myths. In the semi-restored paintings, I remove the dust to create a patch of light. If I restored the painting completely, the impression that light makes on the surface would not be perceptible. So I show patches of light by using dirt. There is an interdependence between dust and light, "physicality" and the ether.  In my oil painting, I manipulate light sometimes by using a glaze, sometimes through areas of absence, or of deliberate wear, removal.  I use light as the subject itself of the painting, by seizing details like flames in the paintings certified or attributed to Georges de La Tour ."

    Fabrice Samyn: Extrait d'un entretien avec Devrim Bayar et Olivier Meessen.

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