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Sorry, the only fault: "I make artwork we had to judge in real...". Then everyone who sees it in real is convinced: “It’s unique"... Even famous photographers and artists say!
This web can only give an impression. It's a pity!!!
I deny. I want such work of art which is different, recognizable! A frans frengen.
13/11 - cover for the book "BRANDMERK: Cel 4403" by Yen links
Curriculum vitae:
invitation to exhibit:
New York: Broadway Gallery
New York: Icosahedron Gallery
Bulgary; France...La Rochelle, Paris,NY, Hamburg , Tel-Aviv, London, Italy,
...2012 - Hamburg, London, Wimmertingen
upcoming!!!
20/08 - Netherlands Breda.
02/06 - 22/06 - Italy: Lecce... primo piano livingallery " Physiogonomies"
04/2012- 20/09/2012 - Duisland ( Mannheim): Gallery Böhner kunst-spektrum links links
01/03/ - 10/03/2012 - Italy:Florence (Al Duomo) Vivid Arts Network and ARTTOUR magazine." Retrospective"
feb 2012 - 1 page in ARTTOUR magazine International New York. ... 29/02/ 2012
24/10/2011 - Italy: Vivid Art Network: " Featured artist of the week. link spotlight frans frengen
07/10/2011 - 29/10/2011 - "Galerie Ludwig Trossaert"; Antwerp: exhibition. links Galerie
14/07 - 30/09 - Italië: Hotel Ferrara, Largo Costello, 36. links Hotel with photographs choosed between the artists of "Here Now"in the Estense Castle for Vividartsnetwerk).
03/08/2011 - 27/08/2011 - Galerie Ludwig Trossaert; Antwerp: summerexhibition ( group). links Galerie
29/05/2011- 31/08/2011 - Portugal 3th exhibition Lissabon ( Portugal). Galeria Colorida de arte. (END of exhibition) link
12/06/2011 - Zundert (Netherlands.. of Vincent Van Gogh).
07/05/2011 - 13/07 - Italy ( Ferrara): Estense Castle. exhibition " Here Now" ( Vivid Arts Network) link
05/05/2011 - Italy ( Bologna): Listing artists TIA links
09/04/2011-21/04/2011 - Italy ( Bologna): Galleria De' Marchi (Trevisan International Art 2011) links
27/04/2011 - Publicity "Artslant" USA, special edition ART Brussels; insider* Frans Frengen ( links Home)
26/04/2011- .../05/2011 - PROLONG Lissabon ( Portugal).Galeria Colorida de arte. (exhibition) link
09/04/2011-23/04/2011 - Lisboa ( Portugal).Galeria Colorida de arte. (exhibition) link
19/10/2010 - 10/2011 - NEW YORK: by Amsterdam Whitney International Fine Art, INC. link
02/10/2010 - selected to be showcased on Amsterdam Whitney Gallery's. "We considern you to be one of our brightest " Contemporary Master Stars" with your wonderful museum-caliber art!"
16/09/2010 - Ixora "flower Art" Wemmel: Markt 66. In permanence until...
03/09/2010 - 19/09/2010 - CCGérard Walschap Londerzeel; exhibition.
17/07/2010 - 29/08 - Watou Front-art, exhibition ( graanschuur and Douviehoeve)
27/06/2010 - work for exhibition in Watou for Front-art ( with KVBKB); 5 - 6/06/10 - The Netherlands; evenement: "KUNST IN ZICHT"
on the Island Marken. links site
30/04 - 29/05/2010 - Gent Citadelpark CAT( near the museum SMAK) exhibition. links
19/03 - 10/04/2010 - Galerie Ludwig Trossaert; Antwerp (B): exhibition. links
01/03 - New York: second invitation Amsterdam Whitney Gallery.
16/01/2010 - 10/04/2010 - Rotterdam COOPvaert; Netherlands. Kunst aan de kade Coopvaert
01/01/2010 - 31/01/2010 - Ostend: Galerie Theobald's Boothuisje. frans frengen
07/11 - 27/12/2009 - Amsterdam( The Netherlands): Waterland Art Gallery; Al Broek in Waterland: exhibition. links
NOV/2010 - article in Tableau: the Fine art magazine of A'dam. ( advice from Frans Frengen, Photograph: me , the chair... )
03/10 - 31/12/2009 - Ostend: Galerie Theobald's Boothuisje. frans frengen
27/10/09 - frans frengen on artnet Nl ( with galerij Ludwig Trossaert); famous artsits: Galeries.nl
2009 - artist-compile: Galerij Pieter Pauwel,
- "Galerie Lissabon" Den Haag.
31/05 - 30/09/2009 - Ostend:(prolong) Galerie Theobald's Boothuisje. ( work outside en inside the gallery.)
05/06 - 07/07/2009 - NEW York: Amsterdam Whitney Fine Art Gallery, Chelsea,: exhibition. Promotion for one year.links
31/05 - 30/08/2009 - Ostend: Galerie Theobald's Boothuisje. ( work outside en inside the gallery.)
25/02 - kunstzolder.be, (Brugge)
08/12/2008 - Amsterdam Whitney Fine Art Gallery, Chelsea, NYC: invitation from this gallery to send portfolio.15/01/2009 selected by their Curatorial Review Committee for exhibition and promotion for one year.
2008 - BB-Art decor:- The Chinounck (coca-cola 4m/2m) - The study of MegaMindy - also paintings, sculptures
25/08/2007 - group; cc.Malderen; "it used to be..."
2007 - Galerie 1225 ART & VIN, Québec; Canada ( Selected by jury and committee for exhibitions,...
09/02/2007 - solo; "cultuurhuis Gerard Walschap"
17/08/06 - Art Salon Holland
09/07/06 - 03/09/06 exhibition " gallerie de oude barrier" with seven artists links photographs
04/2006 - 4 Roses Art Gallery (permanence:Gallery stopped in 2008)
04/2006 - Fine Arts Online Gallery Castor & Pollux links
02/2006 -selection at the "humorfestival" in Knokke with work of to day.
2004-2005 - director Centrumschool Londerzeel. ” Centrumschool”
2003 - teacher at the academy of drawing Londerzeel.
2003 - member of the art gallery online:"www.Kunstsite" & "Art-Belgium."
2000 - (19-01-2000)A letter from: J HOET.( conservator SMAK.) ” We believe in the intrinsic quality of your work. We would ask you to inform us about your steps in the future; keep in touch.”.
Also favourable letters from a few French galleries.
1998 - first at the price of Ganshoren to draw strips.
1996 - new start; the sulpture: "de ontknoping" gets its fixed place at the "O.C.M.W. Londerzeel"
- On research when art was dying....
1990 - Married with Lydia, daughter of Victor George (1919-1989) art painter, cartoonist (in the newspaper: La Libre Belgique;) carving in glass.
1986 - Nomination by Jeans company. Chosen from all academies of Belgium; Nominated by the 10 best designs.
- I followed lessons by BAVO Tiebos for glass and applied arts -
1988 - My painting “Londerzeel” came in the municipality house.
1987 - and others: (selections, jury and exhibition at) the festival of humour in Knokke, political cartoon of Knokke, exhibition of wild works with my friend Javar.
My picture “ de ontknoping” gets much praise of Henri Lanoy.
-1985 - OUT of the ACADEMIC with an exhibition “everything can be differently”. There was an enormous interest from the academy. My first “fumagine” work of 1982 was exhibited.
80 - `85 - several selections and exhibitions. Great competition of Ostend, competition of Ronse, Ninove, Strombeek, Bellegem, Buggenhout, exhibition travelling all around ten German cities.
- competition Price Louis Weiller – Palais des Beaux-Arts in Paris (with selection and exhibition)
- competition Price Marc Macken (NHISK Antwerp) with selection and exhibition
- competition Price Ernest Albert sculpture (laureate -jury- and exhibition)
1985 - Award as most deserving student of the academy. (laureate).
- Diploma higher art education for painting and sculpture
- large understanding sculpture.
- also large understanding in Art history.
- Diploma - large understanding in painting .
1984 - sculpture by Frans Van den Brande.
1980: Awards
- competition Langbenn. (laureate).
- competition “Van Campenhout”. (laureate)
- competition Bernaerts. (laureate).
- Competition Alfons Blomme for painting ( jury - exhibition)
1978 - My beginning at the academy of Mechelen, in painting and sculpture: prof:. T Blickx: , L Eyckermans (director), Gust Dierikx., Frans Walravens, JP Teurlinckx
1976 - Competition A Blomme for sculpture (praise of jury and exhibition)….
1967 - Famous Artists school of N.Y. testimonial after three years for publicity and illustration. Teacher artists:
- Al Parker
- Norman Rockwell
- Ben Stahl
- Thomas B.Allen
- Bob Peak
- Lorraine Fox
- a.o.
1958 - First oil painting was bought by an expert from Antwerp ( At the age of ten.) with those favourable words: “We will hear still of you. Go further. …”
also some local exhibitions
3. The reason why: ALSO - My "Statement": As naked work .
I hope my oeuvre cannot be classified in terms of any particular style. Maybe it appears that I go in a direction of the philosophical way: « a unicate positive pyrronisme…. » (It does exist nevertheless and carries in the word a light reference to the pyromania). Perhaps I have something of a material painter. (Like B.B who had never loved this.)
Each living picture dies each moment. “Now” doesn’t exist; or is already beyond.
… On very young age (10) I searched more than a relative, unauthentic and inanimate picture. The negative form around, maybe the background.... Perhaps I had the frustration to found as a five-year-old boy an involuntarily fire. Since that moment I knew that dead has always something organic which reduced frequently to an object. This is the ash of fire.
I want incorporate the visitor with my compact feelings in the unreal surface of the work; for commitment; sometimes with a certain reproach to politics. I started my philosophically research in the form of the mass, to find that missing piece of puzzle. “Why the public turns itself away from art”. Avant-garde is a must. But I think that avant-garde doesn’t even exist. The artist might be able to gone his own way. He must have something to tell. "It's often after dead that an artist can hang the walls of his deathly travelling box with gold." Of sure he needs even everything what critici gladly describes. If nobody was listen? It's none of the reason that I love abstract work:
Work with synthesized structures of mathematically programmed processes. ( A. K).
Or fields suggesting ineffable space of Supremacist composition ( K. M).
Or this exciting violent contradiction between objective form and "abstract" expressionistic line. (W d K)
I even like line paintings consisting of arrangements of vertical and occasionally horizontal lines. (I. W K)
I also love the painting consisted in giving an experience of the sublime, an experience of unlimited freedom; the escape from the constrictions of the world around us. (B. N).
Happy with the huge canvases to which the paint was applied in wildly spontaneous gestures recalling Surrealist automatism, to produce a sense of labyrinthine webs. ( J. P).
I even felt dignity about drawings with smoke to show that the world outside man is larger than the world within him. (O. P) .
I certainly am full off the soft abstractions and also autonomous concepts in grey. (G. R)
And the work that straddles the borderline between object and painting.( R. R)
Why not the lord of space above the earth; the void, empty of all material things, his burned canvases and living brushes. ( Y. K)
I need the sumptuousness of paint masses, the expressive force to help to remember who we really are. (A. T).
Or even the work that advice there is no static, "Don’t let you be enslaved by outmoded notions of time." (J. T)
The silkscreen works who become less real.( A. W)
Abstract work - with his mutual visual interference of the colors who creates a sense of virtual movement. ( M. R)
Of works who penetrated to the depths of human psyche with incise, nervous line and evocative , sometimes provocative color and pose (E. S).
I love so many others...
Of course this touches me. I like all those brilliant Belgian artists. A lot of all artists touch a heart, but more often a heart in: "The World of Art…”
For sure, there must be somewhere a missed link. We miss a passage perhaps. A precious piece of stone….: If in a precarious situation everyone searched an expedient. And we know that painful reality stays for always in the heart. We live those hold feelings despites of wars, poverty, evil, terrorism, calamities; perhaps with the worst of all still the capital. I went in history ranging pictures, subjects all over the world. This way I want among a “ haptonome”, recognizable, photographic, luminescent picture to take away people sailed too, to meditate. Though, what’s lacking me at photochemical is the gesture. For this reason I create pictures that seem photographic. Reminiscences carrying – of course.
My duel: to fight picture and fire gives an extra dimension. The fear of fire brings me in prostration. Probably it gets me one day. That’s the key to captive the viewer eclectically in the ambiguity of image and represented hints or allusions with a cynically touch. The ash gives an impressionist treatment of light and atmosphere. The figures in the foreground are bathed in a mysterious light.
By this resignation, this belatedness, the strange colorless impression at the "fumagine" of incomplete combustion, this fictitious realistic piece of work indicates the emptiness of being, words and ideas. The picture carries a hidden environment of alienation, a mysterious realistic place of concealed emotion. It’s a way of unsettling habits of perception and questioning the meaning we attach to reality. We found certainly an “anthropomorphically” presence in the mimesis. We live in a period that evidently is dominated by men. This touch is monumentally by simplicity, unique towards form and voice, recognizable between thousands of works. The proverb: “Parels voor de zwijnen werpen.” is a present frequentie.
The representation of reality will not carry within perception any anecdote or equally declaration. No one might reveal the essence in a coloristic supremacy. Each object can be depicted as some simulacra in confrontation with the condition human.
My people hanging around in a hedonically world will be a wink at publicity. It remains me a bit of T. W neither with his three-dimensional configuration. The picture is now subaltern against this empty context. As if I create an installation against an abstract work of which this last has become more important as an ambivalent addendum. In fact we are standing in front of a complete abstract work. I have arrived at a form distilled to the essence. I revealed a difference in decoration. Already attracted by this creation I want a reflection, the silence of the canvas, the invisibly depth of ash, more as a sculpture which is molding in a spatial form with the fascination of the surface. This is an unreal self-supporting. The reality lives in archetypical relation with the matter. The works’ contrast must be like a rope around the neck. Somewhere with the brilliance of the photography which holds and gives a deeper look. It's even more to consult. It's more vibrating. This confrontation implies an existential and abstract approach. It can be the missing stone.
The public can engage itself. There is a possibility to change a square on each work; blank; (prohibited); or in color. It’s studied and even usable everywhere -inside... outside the fumagine work - interestingly for the eye. There are also a lot of reasons to use this square... to give informations, to communicate, to color, in metal, to be digital? This also makes the individual character of each work. Here you can find the depth of a new picture. The contrast includes a syllogism to importance. Fumagine in surrounding seizes takes to the throat, each time at treating already.
“To be an artist is to die a bit each day until death makes immortal." Art must be like a physical combat, a struggle for life. The representation is imperfect. The victory is contactable. A work of art may never end. It’s continuous and depending coincidence and heart.
The contrast of obscurity and light works automatically in our eye. The orphan can feel only small surfaces without displacement. Therefore I use smaller work; but remained to it. The sparingly applied strokes of ash are setting the surface into a rhythmic motion. I hold emotion apparently to our world. The future....
I create a unicate picture; no more copies; utopian perhaps. A shadow against the air.... But I also do something against the counterfeiting with my DNA: hair, blood, saliva, finger impressions and others. (I leave scatalogism to W.D). This is possible even in that little square on my work. I hope to act more alive. On research I gave up for a lot of years. During this time I worked at the technical approach to beat fire. I need to draw with fire. A step into void like O.P and Y.K. (Maybe in a few years fireman uses other things... a sail, some suits with air... It’s probably possible to use invisible metal in that little square to communicate.)
I'll start again. Even in a more contemporary response, where so many; frightened of a realistic design; thought that art has lost its relevance. That figurative painting has lost his soul to match that great barrel of contemporary kingdom. But I continue to search with topic and related figurative work a new impulse to find the piece of that puzzle. Not skeptical or negatively, but rather with a positive “pyrronisme”, the "né-nu-f'art" The “né-nu-f’art”, is laying, is continuing, and is sprinkling on values. We need a dialogue against people...
The way, however, become smoke. It's terrifying.
But…
... art must be continuous, engaging people.
It is more realistic and more contemporary.
...in my sculpture you can also find the other elements of nature: (collections of air, pieces of earth and water - photograph = "l'air de 2001". My "Collection déposée").
I keep the air in a bottle to get it better like wine. It seems like an installation, getting further.
My pieces of thread; even now when I saw those works of Calder - I never had seen them before - I was also impressed by this simplicity; are so different too these . And there is that continuous piece of color that everyone can change.
I feel better as a painter, a sculptor and a drawer.
