Page 40 - Studio Internatinal - October 1974
P. 40
the series of the six primary and secondary
with four, part I, II, Ill, IV 1972-3 200 x 100 cm
tones by defining a distinct colour for each
Raoul de Keyser Ink drawing on paper 1974 19 x 19 cm
canvas ... By a process of combination, I
Dan van Severen detail from oil on canvas painting insert bands of colours, bringing into play the
(Right column top to bottom) Jef Verheyen in his complementary quality of the background tone,
studio Avers 1973
to objectify my planes of colour, to fix them
Andre Beullens Porte d'Or V 1969 240 x 144 cm. Coll. so that the mind is in a perfect state of repose
Musée Royaux des Beaux Arts, Brussels
and can receive the desired impact of the
Walter LeBlanc Torsions
primary tone. The field of colour is thus
Pol Bury Sphere on a cylinder 1969 50 x 20 x 20 cm.
Coll. Galerie Maeght balanced and we can approach it from a
directly frontal angle.'
Structure of a movement
The constructive abstraction of Twisting Strings,
characteristic of the white stitched canvases of
Walter LeBlanc, has developed into torsions,
which form mobilo-statics when made in
polyvinyl and coloured sculptures when in
metal. LeBlanc's works are programmed
compositions which evolve through series
moving from compositions to variations. They
are based on the structure of a movement, that
of the torsion, which by action, reaction and
interaction of its elements and colours creates a
zone of vibration, giving the work its kinetic
quality.
Can we speak of a structure in the work of
Pol Bury? If there is a structure, it is certainly
an imaginary structure, a hidden structure of an
unusual world of movement. Despite the
abstraction and the kineticism, this movement
clings agonisingly to an original structure. The
erectiles and vibratiles are transformed into
insects or strange plants. The sloping planes and
the metal balls are less distressing, perhaps
more elegant, in their reflections of cold
material, whose unexpected spasms disturb the
eye by a movement of a cosmic insect and
awaken the ear by the dry tone of their
magnetic shocks.
The continuity of this constructivist and
structural tendency leads us to conclude that
its impact on the contemporary Belgian artist
has been and is still sufficiently great to enable
the tracing of a clear future evolution, which
will certainly separate itself increasingly from a
particular artistic environment, called avant
garde, to take its place to a greater degree in the
great line of spiritual, scientific and plastic
research, seeking the elaboration of an
environment conceived as fit for men.
There is one final point to make, there is a
regrettable absence in Belgium of an official or
private organization, which would activate the
promotion of technological research, by
stimulating colloboration with laboratories,
factories, architects and engineers. In the
countries where these relations have been set
up, as in the United States, in Holland, in Italy
etc..., a mine of new possibilities is placed at
the disposal of artists.
In Brussels, a working party for information
and research, aiming to meet the needs and
problems of young artists of all kinds and
working from the point of view of a laboratory
museum, could in the future facilitate certain
research and promote certain new ideas.
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