Still Life

Geyskens is constantly investigating the meaning of painting in our time. In that search he also looks to the past, to the practices of older artists. In the past year he has focused on the still life. In subdued tones and on a white background, he paints compositions with bottles, a loaf of bread, a skull, cups, etc. The objects are recognisable, but very schematic – they flirt with abstraction. The layers of paint give the still lifes a kind of tangibility.

Unexpected kinship: Alfred Delaunois

For his exhibition, Vincent Geyskens also delved into M’s historical art collection. He found affinities with his own work in the paintings and drawings of Alfred Delaunois, – especially with his recent landscape drawings, which he made on his walks. He feels a connection to Delaunois’ rather rough way of painting, and with his use of matter and texture.

Alfred Delaunois (1877-1941) was born in Brussels, but spent most of his life in Leuven. There he came into contact with sculptor and painter Constantin Meunier (1831-1905), who had an important influence on his work.

Delaunois was an esteemed painter. He was a teacher and director of the Leuven Municipal Academy of Fine Arts and also enjoyed international fame. In his work, he often tries to evoke an atmosphere of silence and contemplation.

New monograph Vincent Geyskens

On the occasion of Geyskens’ solo exhibition, M and Mercatorfonds are publishing a monograph on the artist, with extensive visual material and texts by the art critic Dominic Van den Boogerd and the curator of M Eva Wittocx, among others, and designed by Kim Beirnaert.

A new poem by Geyskens will also be published by Het balanseer in the spring: ‘The Gender of the Eel’.