Middle Gate

Luc Tuymans chooses three sculptures with a certain baroque air, not only formally as sculpture, but also as suggestions of indeterminateness. They are contemporary interpretations with an upturned antique element. Whether modelled in clay or cast in plaster, the power of her work always lies in her imagination. She uses fragments of references that refer to an invisible past, while subtly creating a new time period in the material of the sculpture. Aside from clay and plaster, she also uses porcelain, tin, wood and even plasticine. The versatility of her practice always arises from the material itself, which also determines the power and language of the image. Often, the same material is utilised in the pedestal, so it becomes part of the sculpture, or becomes an autonomous part of the installation. The way in which she adds new elements to the classical statue refers directly to the practice of ‘visible restoration’, which is often used in archaeological sites or historical buildings. Gaps and missing parts are visibly filled in with different materials to make the intervention visible and thus add a reference point as a time stamp. The artist applies this technique to the most diverse images and memories from her childhood. Moulded white sculptures go hand in hand with baroque sculpted portraits or animalistic wood carvings. Her fairy-tale world is populated by a strange mixture of soldiers, philosophers, astronauts and cartoon characters, but also animals, slaves and outcasts.

Text: Hans Willemse
Translations: Michael Meert