I.C.A. a r t c r i t i c s
°S.Leinweber °L.Brevers °R.Vancampenhout °L.Nemeth
Erik Pevernagie
Belgian Painter (°1939)
“Erik Pevernagie is
primarily known for combining both figurative and abstract elements in his
works. Starting with a simple geometric sketch or "graffiti", he
builds the surface with materials such as ashes, sand or metal chips.”
'''(William Doyle,
“Waiting for Emancipation” (80 x 100 cm)
" ‘Man’ stands in
the heart of his work: man integrated in his natural environment, sometimes
even absorbed by it. On the other hand he seems to deny it, as Pevernagie
introduces graffiti in his paintings. So doing he gives evidence of the
solitude of the human being, his alienation in the urban texture.” '''(Encyclopédie Bénézit, Paris)'''
“The hidden sides” (100 x 80 cm)
"Bridging the gaps
between generations, social strata and nationalities is a tricky business.
However Erik Pevernagie may have hit upon a workable formula to ease the
alienation. " '''(Herald Tribune)'''
“If you scratch my back” (100 x 80 cm)
“His message, like a
light beam across the fog of the human condition, calls our attention to the
fragment, to help us to explore the universe. The detail is chosen as the
starting point of the possible knowledge, deepening our perception and
conscience. Pevernagie offers us the first pieces of a puzzle we have to
assemble. He freezes the moment as a password to disclose the eternity. His
philosophical approach of the “essence” is further materialized by the choice of
the technical parameters: the flatness of the perspective, the geometrical
shapes, the narrow chromatic range, the use of material elements such as sand
and metal files...somehow recalling the Egyptian art, an art based on the
language of icons and symbols, to explore and explain the mystery.”
'''(R.Puvia,
“Didn’t know it would ever happen there.”
"Belgian artist,
who adds geometrical colour surfaces in his work to characters or architectural
spaces. In addition he uses material on his canvasses such as sand and metal
chips, which grant to his pictures their special surface texture and which seem
to submerge the separate entities into a refined moderate colouredness through
the reflection of the light." '''(Ketterer,
“Thank God for the Belgian chocolate” (100 x 80 cm)
"The human being
who is present in all his work is reduced to a congruent portion. Some pale
traits, bodies blend into the canvas leaving space to accessories, highlighted
by the artist in a more figurative manner. The material is omnipresent in Erik
Pevernagie's paintings and give to his work all the intensity of the messages
he tries to transmit. Metal, aluminium, sand. The ruggedness of his canvasses
is perfectly in tune with the long vanishing lines and the sharp angles of his
paintings." '''(M.Ladaveze)'''
“Why step out of nature” (60 x80 cm)
"Typical exponent
of the contemporary artist who combines abstract and figurative elements in his
work. He starts from an idea and expresses that idea in a plastic way. Thus he
depicts a world which has become confused and insecure and asks questions which
can be interpreted by the spectator.” '''(Paul Piron,
“Give me more images” (80 x 100 cm)
"Mixes figuration
and abstraction with a poetic and philosophical key. Important are the framing,
the intersections, the balance of the surfaces. Introduces extraneous
substances (ashes, sand, grit etc) which gives an aspect of strangeness and
ruggedness as if he leaves traces of the past." '''(Arto)'''
“Why can’t we talk,
at least” (100 x 80 cm)
"Always listening
to the world around him Erik Pevernagie grants to our fellow man a dominating
place in his paintings. The individual is replaced in his environment, which is
sometimes evoked by graffiti, and seems to be absorbed, dissolved by the
elements surrounding him. The subtle touches of color, the half-abstract,
half-figurative shapes, and the specific framing lead to the dissolution of the
individual whose life seems to be but superficiality. Pevernagie invites us to
go beyond the superficial barriers in order to discover the mystery behind his
characters who are in perpetual tension as if they were waiting for something
else, for another life." '''(LeVif/l'Express)'''
“Needn’t change. Just your socks and underwear” (80 x
100 cm)
"Always starting
from an event of the collective memory Pevernagie paints a very insecure world
in his very particular way. Half figurative, half abstract he mixes elements of
earth, sand, metal cuttings on his canvas in sober beige, grey, velvet red
tones. He starts with a simple graffiti, a sketch of a person or a detail from
daily life. These are used as a pretext for a network of pure and well
structured geometrical lines covering the whole surface of the canvas in order
to bring about emotion. The titles are like twinkles in the eye. They are to be
interpreted as one feels it. In the first degree or in the second degree.
Astonishing in this work is the message that is brought to life. The artist
asks questions. Life is seen by Pevernagie in different ways and painting is a
way to express them. The paint brush is a means of evasion and the color a gate
to reflection." '''(Rey-Berthot)'''
“The day the mirror was talking back” (100 x 80 cm)
"The figures of
Erik Pevernagie are absorbed, integrated in their environment by the color, the
lines and by the" idea", which is most important in his work. He
starts from an idea and then he paints it. With him we find the problems which
keep him busy, which haunt us and which he depicts. He paints the alienation,
the loneliness, the unrest, the uncertainty. Erik Pevernagie paints for a
generation. Our world has been decomposed, fallen into pieces, become uncertain
and unseizable. But art and poetry are ultimate recourses. Erik Pevernagie's work
is a thrilling work. With him we enter a totally different universe than the
recognizable and readable reality. It's a universe we can interpret. In his art
questions are put. He has a vision on man and the world. This artist is
captivating by his topics and by the way he is painting them. He brings about a
change in our way of looking at the world. "
'''(W. Toebosch)'''
‘Das Glück der Frau hängt ab von Phall zu Phall“ (60 x 80 cm)
"For me it’s even
more the shape that one perceives than the idea of the painter which astonishes
and alienates me. The painter obviously starts from a situation in everyday
life. The shape, the structure impose themselves and create some disturbance.
The canvas is almost empty. No cumbersome details. No technical tricks. I
understand that it’s the ” details ”, the small objects of life which surround
us and which form the framework through which we perceive the world, which
stimulate and encourage the thought. These are the objects which often replace
the interior world with many people." '''(L.Krasnova)'''
« In fact, was it worth while? » (100 x 80 cm)