Hans Bruyneel’s paintings are reflections of photographs he finds in albums, magazines and film shots. This personal choice is the basis of his artistic statement.
In Marc Holthof’s interview, Hans explains that, like most of his 21st century contemporaries, he does not take the stance of a 19th century ‘plein-airist’ who places himself and his easel in the middle of a landscape. On the contrary, he is part of a generation of contemporary artists who emphatically situate themselves after ‘the end of the lyric landscape’ (Ton Lemaire). “I am not really a landscape artist”, says Bruyneel, “I do not try – as you often see in the 19th century – to render the energy of the landscape, sea or sky through the robustness of my brushstrokes. I don’t do all of that.”
In other words, they are not real landscapes; just artificial screens, images of landscapes that appear on a canvas. Cinematic flights of fancy. Dream landscapes that have left Arcadia far behind and are completely ‘post-nature’: the connection with every physical reality is severed. The projected landscape is lit up with a toxic light that no longer comes from the sun but from beautiful, poison gas clouds that we fabricated. Beautiful enough to walk through in solitude and to bid farewell one last time, but definitely not livable or the fulfillment of the dream that ecological disaster might still be avoided. Perhaps Hans Bruyneel paints the dramatic death-blow to the landscape; a landscape in which BASF is operating the spot lights.
Stills from a private and social memory. the tragic nature hidden behind the veil of his pictures.
H. Bruyneel has worked with Galerie VDP for about 20 years. His paintings were shown on art fairs and exhibitions in the Netherlands, Belgium, France, Germany, US, Canada etc.