Interview avec Erik Pevernagie
Interview avec Erik Pevernagie

 

 

PAINTING EVENT

 

° R.Puvia ° M.Stojanovic ° P.Cowood ° L.Krasnova

 

 

 

Erik Pevernagie

« Living on Probation »

selected at

 

Bonhams, London

Post War and Contemporary Art

September 2009

“Living on Probation”

 80 cm x 100 cm ( 31 ½ x 39 3/8 inches)

 Oil  and metal  on canvas

 

Erik Pevernagie is particularly known for his way of expressing his artistic philosophy.

Through his pictorial representation the viewer can discover a range of typical facets of our current society.

Behind the "matter" one can discern the “idea". Details of life are used to open doors to universal values.

In this work he is engaged with the problem of aids.

He has been confronted with victims of aids and has understood that they have been predestined “not to be lucky”.

He has decided to feel actively with those people who have been condemned to live on probation.

 

@

 

 

Christie’s  New York

 

Rockefeller Plaza  20

 

10020 NY

 

September 2007

 

 

Erik Pevernagie : « Crépuscule du Désir»,  100 x 80 cm

 huile et métal sur toile

 

 

Crépuscule du désir: Twilight of desire.

People feel so tired and burnt out by consumption.  Says Pevernagie: “They are no longer able to invent themselves. At most, they are prepared to call upon some gadgets in order to create a pretence of desire. But this is only deception. Nothing can make them want anything or anybody anymore. That feeling of wanting or longing has become absent. That specific feeling is definitely dying.” The artist senses the decline of emotions. No time left for long stories. No patience for a better knowledge of fellowmen. No “ardeur patiente” to get to the core. No lenient “Sehnsucht” that gives soothing colours to encounters.

People inexorably yield to the invasion of the catwalk.  Disposable goods and fake feelings are easily acquired and without commitment. Twilight of desire.

 

@ 

 

 Selection at

Christie’s, New York

Rockefeller Plaza  20

 

Erik Pevernagie

« Man without Qualities »

 

 

January 2006

 

 

“Man without Qualities”: oil, sand and metal filings on canvas

100 cm x 80 cm

 

“Robert Musil has undoubtedly inspired Pevernagie’s « Man without Qualities ».

By denying any physical presence of the character and leaving simply dress evidence,

the artist gives us a reproduction of the ground zero of the mind.

Indeed, his anti-hero has decided to make tabula rasa and get rid of all acquired alleged qualities.

In his artistic work Pevernagie often claims space for reflection, time for new oxygen, recovery of spiritual regeneration and intervals for active awareness aimed at calling matters into question.”

 

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Selection at

 

Sotheby’s, New York

Erik Pevernagie

 

“Absence of Desire”

 

December 2005

Absence of Desire: oil, sand and metal filings on canvas

80 cm x 100 cm

 

“Standing in front of "Absence of Desire", painting by Pevernagie, I wonder: "Who feels the absence of desire? ". The absence is not explained by the decomposed, half-naked, headless female bodies. It is not confined to the painting.  On the contrary, the absence of desire gradually invades the beholder who is in front of the painting.

 

The artistic approach of Erik Pevernagie, the requirements of the composition, the structure of the canvas with its transversal lines and diagonals remind me of the stained glasses of cathedrals.

 

The large needles of these cathedrals tearing the blue of the sky in their search of god. The iridescent stained glasses pouring light under the high vaults which embody faith and a belonging to the world beyond. The beauty of stained glass removes all the thoughts of a physical world which surrounds man.

 

One can say that Erik Pevernagie’s "stained glass" rejects the body (rather pointed out by outlines than depicted) in the same way as the Middle Ages rejected the body while accentuating the face which was transformed into an icon. The metal framework of the "stained glass" is transformed into a kind of cage, of grid which imprisons the body.

 

But with Erik Pevernagie this rejection of the body leads us into a dead end: there are no faces, no heads: their absence precisely underlines the body which has to be denied.

 

In the course of the centuries the human body has been admired for its beauty and its plasticity. Man has appreciated the joy of the flesh. But the body has also been rejected and even perverted.

 

Erik Pevernagie’s painting represents the indifference, the insensitivity towards the human body and woman’s body in particular. It outlines man’s asexuality and inaction.

 

Pevernagie notes that his  (I quote) “contemporaries are convinced they know the world inside out. They tasted life in all its aspects and feel now that they are at the end of their tether. They are tired and are no longer able to invent themselves. At most, they are prepared to call upon some gadgets in order to create a pretence of desire. But this is only deception. Nothing can make them want anything or anybody anymore. That feeling of wanting has become absent. That specific feeling has definitely died.”

 

Absence of desire has become the metaphor of absence of life.

 

"Absence of Desire" is the stained glass window which opens into the gap of the cathedral of emptiness.( L.Krasnova)

@ 

Selection at

 

Horta, Brussels

Erik Pevernagie

 

« You never get a handkerchief 

 

 when you really need it»

 

 

June 2005

“You never get a handkerchief when you really need it ”

100 cm x 100 cm

 

“The handkerchief the girl didn’t get, when she really needed it.

The artist has been keeping this image in the camera obscura of his memory and has translated it on the canvas.                                                                   

 Erik Pevernagie decomposes the scene. Face and handkerchief are caught in a pattern of lines and surfaces.

 In a time where feelings are kept a secret and showing one’s feelings seems ludicrous and ridiculous the painter opposes two fundamental elements of daily life: tragedy and comedy.” (I.C.A.)

 

                                                  @

                                                                      

Selection at

 

                               William Doyle, New York

Modern and contemporary art

 

Erik Pevernagie

 

 

« Esprit d’Escalier »

 

 

May 24, 2005

“Esprit  d’Escalier”

35 x25 1/2 inches (89 cm x 65 cm)

Oil, sand and metal on canvas ,mixed technique 

 

“ Esprit d’escalier, wit of the staircase: Those biting ripostes that are thought of just seconds too late,

 on the way out of the room.

Erik Pevernagie is a pictorial story teller. He brings to life events from our collective memory. Events everybody has been faced with, at least, once in his lifetime.

The painter conceptualizes this feeling of momentary powerlessness and abstracts this situation on the canvas.

 A character and a small bulb (a lightening idea) are introduced in a framework of geometrical lines and surfaces .

Again and again  Pevernagie takes up the challenge

 of  walking on the edge of the abstract and the figurative expression.” (L. Krasnova)

 

                                                 @ 

Selection at

Horta, Brussels

 

 

 

Erik Pevernagi

 

„ Une Femme peut en cacher un autre“

„ Une Femme peut en cacher un autre“
Huile et sable sur toile marouflée

« Toujours attentif au monde qui l'entoure, le peintre Erik Pevernagie accorde à l'Homme une place prépondérante dans ses tableaux. Replacé dans son environnement que l'artiste évoque parfois par des graffiti, l'individu paraît absorbé, dilué, par les éléments qui l'entourent. Les subtiles touches de couleurs, les formes mi - abstraites, mi - figuratives, et le cadrage particulier concourent à dissoudre le sujet dont la vie semble n'être qu'apparence. Pevernagie nous invite à aller au - delà de ces apparences afin de percevoir le mystère qui se rame derrière ses personnages en perpétuelle tension, comme en attente d'autre chose, d'une autre vie. » (Le vif L’express)

@ 

Selection at

William Doyle, New York

 

May 2004

 

Erik Pevernagie

 

WAITING FOR A MOMENT

 

« Always starting from an event of the collective memory Pevernagie paints a very insecure world
in his very particular way. Half figurative, half abstract.» ( Stéphane Rey & Colette Berthot )

 

“WAITING FOR A MOMENT”
Signed Erik Pevernagie and titled on the reverse
Oil, sand and metal filings on canvas
23 1/2 x 18 inches (59.7 x 45.7 cm.)

We read the title and the visual content of the painting is being transposed onto a philosophical scale.The rough and schematic manner of the painter deprives the represented figure of any particular and personal feature, thus making it easier for the beholder to imagine himself at the place of the figure.”(L. Krasnova)

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Selection at

Bonhams, London

 

Erik Pevernagie

 

« Waiting for a place behind the Geraniums»

« Waiting for a place behind the Geraniums»
Oil on canvas 38 x31 in. ( 96,5 x 79 cm) mixed technique

"The artist gives us an iconographic representation of time going by, time being wasted, time being killed.
He shows us an abstract image from the collective memory: man sitting at his window behind his familiar flowers, impatiently waiting for retirement, longing for eternal peace.
By means of geometrical compositions and lines the artist guides us through chronological and psychological time.
Real time and wishful thinking." ( H. Painter )

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Selection at

Nagel, Stuttgart

 

Erik Pevernagie

 

« This is no chicken food »

 

„Seine Kunst, die zweifellos matieristisch und sensuell ist, besitzt auch eine wirkliche, menschliche Botschaft und ruft ein Bewusstwerden ohne Kompromisse hervor.” ( Nagel, Stuttgart)

 

« This is no chicken food » Oil on canvas (80 x100 cm)

 

"Nackte Wahrheiten. Der Mensch in seiner Umwelt ist das zentrale Thema des Malers Erik Pevernagie. Er drückt sich mit Farbe und Zeichen aus. "" sind Graffitis in seinen Werken." (Berliner Kurier )

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Selection at

 

William Doyle, New York

 

Erik Pevernagie

 

« The Power behind the Glory»

 

« Always starting from an event of the collective memory Pevernagie paints a very insecure world

in his very particular way. Half figurative, half abstract.»( Stéphane Rey & Colette Berthot )

 

 

« The Power behind the Glory» Erik Pevernagie
Oil , sand and metal filings on canvas
27 3/8 x 31 1/2 in. (69,5 x 80 cm)

“The artist realizes that the world in general and life in particular are governed by important messengers.
He is aware that several undercurrent drives may push us in all kind of inexplicable directions.
Power and glory are two such important elements.
Emphasizing the dialectical approach of matters and situations has been a main concern of this painter.
Erik Pevernagie has been focussing on translating interferences between different ”qualities” into iconographic transcriptions
.” (M. Stojanovic.)

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Selection at

Drouot, Paris

 

(Catherine Charbonneaux)

 

Erik Pevernagie

« L' homme est au centre de son oeuvre, à la fois intégré dans son milieu naturel, on pourrait parfois dire absorbé par lui, et pourtant semblant le renier, d'autant plus fortement que Pevernagie introduit dans ses peintures des graffitis témoignant de la solitude de l'être humain au monde, de son aliénation dans le tissu urbain. »( Encyclopédie Bénézit, Paris)


LE BALLON EST CHEZ LE VOISIN
Huile et technique mixte sur toile (80 x 100 cm)
Signée en bas à gauche et titrée au dos


 « Le peintre nous donne une représentation iconographique d’un souvenir d’enfance, une image de la mémoire collective : ballon irrécupérable parce que voisin absent ou furieux. »

@

Selection at

Ketterer, Hamburg

 

Erik Pevernagie

“ Would time be patient “

„Belgian artist, who adds geometrical colour surfaces in his work to characters or architectural spaces. In addition he uses material on his canvasses such as sand and metal chips, which grant to his pictures their special surface texture and which seem to submerge the separate entities into a refined moderate colouredness through the reflection of the light.” ( Ketterer, Hamburg )

“ Would time be patient “

The transverse lines bar the space where the figure appears, or perhaps it is the beholder who is expelled from the scene representing the very last moments. Those lines distort in some way the picture and prevent the spectator from seeing the perspective clearly. Are not they a graphic metaphor suggested by the painter for the time introducing the fourth dimension?

The painter gives a visual representation of his ideas and with the title he stimulates the thought and the imaginative stock of the beholder. His graphic concept being concise and simple he pushes us toward reflection. A door, a figure, a bag and the title extend the horizons of time which flees, breathes, remembers, builds up associations, changes, makes things relative and though in a hurry may be patient perhaps... “ (L.Krasnova)

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 Selection at

Christie’s, Amsterdam

 

Erik Pevernagie

 

« Fear of the white Page »

 

“His message, like a light beam across the fog of the human condition, calls our attention to the fragment, to help us to explore the universe.
The detail is chosen as the starting point of the possible knowledge, deepening our perception and conscience.
Pevernagie offers us the first pieces of a puzzle we have to assemble.
He freezes the moment as a password to disclose the eternity.
(Prof. R.Puvia)” 

« Fear of the white Page » Oil on canvas ( 100 x 80 cm)

“ His philosophical approach of the “essence” is further materialized by the choice of the technical parameters: the flatness of the perspective, the geometrical shapes, the narrow chromatic range, the use of material elements such as sand and iron powder...somehow recalling the Egyptian art, an art based on the language of icons and symbols, to explore and explain the mystery. “ (Prof. R. Puvia)