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"Picto - Arc-Bug - etc. ..." Mirrors & Steel - Pierre Marie Lejeune

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About Pierre Marie Lejeune .... Born in 1954, Pierre Marie Lejeune defines himself as a sculptor and designer. Fellow of the Villa Médicis in 1983, he spent one year in Luxor. Naturally his focus is to sculpture. His decisive encounter is that of Niki de Saint Phalle in the 80s. Their collaboration, for many years, will only strengthen its approach.

Since then he has continued to develop a repertoire of forms akin to writing a virtual alphabet. Its materials of choice are steel, glass, light and water. Refusing any concession to ornament. Radicalism, rigor and purity of form are common in his sculptures.
In recent years, Pierre Marie Lejeune explained in Mamac (Nice), to the arsenal of Metz, the National Museum of China (Beijing), Metz, Boulogne-Billancourt, Auvers-sur-Oise.
He completed numerous projects, orders and exhibits in Europe (Germany, Belgium, Italy, France), the United States and China, where it is represented by Pearl Lam (Contrast Gallery) which has organized three major exhibitions in 2006 and 2007 in Shanghai and Beijing.

Roaming at t rave rs Park ... The principle is to make the park itself by creating a trail-ride or fourteen sculptures are represented in eight locations. Each of these steps provides one or more parts. Several of these pieces, created especially situ , sometimes use one or more trees on the site. The material referring to all these pieces is the mirror. According to the sculptor, the discovery of coins in the park does not necessarily conform to a predetermined route, but that the visitor can in-walker will take a side road, a path tangential to lose some of his works and discover more unlikely ... and more effective emotionally.
The mirror makes the park a real defragmented and rebuilt after the light, the vegetation all in a prism to reflect changing and infinite ...

Paradigms, heliographs and parables. E XTRACTS text by Jean-Pierre Van Tieghem : The more mirrors, the more reality, "says Louise Bourgeois. As they are inclined, directed in different directions, no one is watching what the other sees. They transform the images. The spectator who observes the work, along with the space around, between, and is part of the artist's work. A monochrome surface and smooth as some works by Yves Klein and Gerhard Richter, integrates the profile of this person face-to-face. An obvious reflection exists in the work of other artists, as in Pistoletto, sometimes in Buren, Dan Graham and Roni Horn with Opposite of White in dialogue with Portrait of an Image . In the sculptures of Pierre Marie Lejeune, mirror and stainless steel are never empty. They capture the people who pass, attentive or not and despite them.
Another of me, even . The art of Lucas would it be a dangerous game? Love with his own image he sees in a fountain, Narcissus is punished by Nemesis, and drowned in the s water source. What did he see other than himself? The beauty of her face and close lightning strike. But, fortunately, Lucas does not abandon those who watch. He always puts in a situation, in conversation with his works here in the park, lawns surrounded by vegetation and tall trees that watch over them.
The mirror also suggests a perverse dimension. It is the behavior of the voyeur: watch without being seen. In mirrors and reflections a sculpture, a spectator point of lovers kissing. It is positioned to have all the time the actions of the couple in his field of vision. Thus he turns in single machine monomaniac who quenches his fantasies. the couple feels alone in the world. The two situations have nothing to do with each other. That sculpture is sidekick and matchmaker.
At Tournay-Solvay Park, work continuously reacts to the environment. Lucas does not invite to sit, but to walk, twirl, to capture all the nuances of light, chiaroscuro, season and climate that dress works in perpetual motion. Suns, clouds, rain, constantly reveal new appearances. The sun makes everything burst into stormy scenes between the trees. The clouds that lead to the dream crumbles or becomes nightmarish imperceptibly during the storm. Soaked in the rain, works like bodies dripping with sweat, their faces in tears, the surf waves that turn on themselves.

Depending on where it is located, the viewer feels other sensations that vary continuously. His relationship with the work of great complexity. The sculptures have their own working lives and their happiness, their desires, their griefs, their despair. One has the impression that they tell their existence. And why not that of the artist?

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Trees ...

By Simon du Chastel: The first tree that covered part Earth is our ever present, faithful. To us to follow.

It is not design more widespread than the living cosmos symbolized by a tree: the oldest art, myths, legends of the most diverse peoples evidenced in profusion, as they have for millennia.

The tree is both vertical, growth in the sky, the earth's axis toward Polaris, the perpetual regeneration, place of passage from life to death that produces a new life. It spreads by seed. In cosmology, we celebrate the three cosmic zones: the roots, underground, pushing down and eat a wide variety of substances from the earth, the trunk is the vertical area, such as that of man, monkey righted the branches is an expansion to the sun, sky, clouds engorged with water that it captures. This thought, which the base is the vital circulation between three poles, is the foundation of the Christian Trinity and the dialectic of Hegel.

The tree is also full of birds that are central to our relationship earth-sky, insects and animals, the serpent, symbol of fertility and healing, and that since time immemorial. Therefore, when talking about the tree, the images used are those of the tree of life, science of good and evil, also known as family tree, tree of Diana, Saturn, Jesse, Christmas and more recently, the tree of liberty. The tree is also nourishing, fruit, and exotic countries, it is breadfruit tree, milk, incense, wax ...

The verticality of the trunk of the tree was used to build shelters and became our first column in the marquee representative of plants in Egypt who built temples in places like rituals such as the hill, the mound, the cave; water is often at its source, stones confined space and, of course, the tree of life was present. The tree creates the forest and wherever moisture reign implanted forests. In the past, these forests had an uncontrolled expansion, were formed of timber and underbrush who preserved and made them impenetrable, as is now the rainforest.

In imaging, the forest plays a dual role in all civilizations: it appears first as a place of meditation, introduction to the hermits and monks, a place of refuge and mystery stories, which creates and legends which has in mind the Little Red Riding Hood, Merlin the Magician, Tom Thumb and other characters from books such as that of Perrault, but the forest is also seen as a den full of threats because it is easily lost and once, they could fall into the hands of robbers, thieves large paths, eager to plunder and ransoms.
Nowadays, if the robbers were gone, the power of regeneration of men through the forest remains intact: it is all said that the forest areas around regress. The forest continues to play an essential role: it marks the seasons, the area of reunion and healing, for through the rhythms and cycles of the forest, man finds peace, harmony and learns to name things well.

Historically, the forest has captured the imagination of artist who uses her as "raw-wood" as his mind.

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Philip Docte

His lifelong friends, his materials are basic tree and wood. Wood is a basic fidelity to him: he likes the lightness, flexibility, life, the indomitable character but also the hardness. The wood itself offers all possibilities including that lend themselves to the dye, "we really do not dominate, it continues to move and there is no grip on the material, there are surprises, including patinas obtained with the experience. Exposed to air, oxidizes a sculpture untreated. Even if one uses a dye, the fiber remains apparent. I like working wood freshly cut, wet "which eventually it enhances the texture with natural dyes, eg Annatto. Philippe Docte is absolutely passionate about the woods because "It is a material close to the man: he was born and raised and then dies, it follows the same path as humans." The tree is also the gateway for him between earth and sky. Sometimes the iron works in the carvings Philippe Docte: both materials retain their own individuality, do not interpenetrate. Iron, more often serves as a support, Structure executive but remains secondary. In any event, Philippe Le Docte go directly to the size of assemblies rather rough sometimes removable parts, a double thought the anime: the occupation of space by work that includes human as reference material. The apparent imbalance it creates is a query to be, even when using the vertical reassuring, it splits into paradox: thus he creates a tripod, three triangles on their points not on their bases. This duality gives rise to a combination of strength and fragility.

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Anne Nuthals

Anne Nuthals: The willow branches are derived from crops, they are almost graded. They represent the idea of a volume formed by a multitude of factors, almost similar. Treating a material such as willow, is a long time flexible work, which has a certain elasticity, resilience, and therefore momentum. Each willow branch is actually but a minimally different simple geometric - the human form for his design but also organic, so I think the trunk. This is similar to the stone columns in architecture. Worked as a full volume, it becomes natural signs dynamic: its material and its own form.

From the time I bend in the metal bars of diameter always equal, and this added to the built forms, the two materials, willow and steel, offer a volume that is between two realities: one organic, the the other reflected. One is dominant in its field, with its colors, in its basic shape, the other by decomposing it operates on the barrel.

I intended that way for my work both as a whole, but also that each element that underpins it exists. Ie it is acting as a finite volume in space but also as part most of this space, a viewing "lens" would feel that the internal dynamics of this organization.

Willow is the basic building element is that which determines the dynamics of willow branches and beyond, sculpture.

duality of the two materials, because of the rigidity and flexibility one of the other causes the vibration of the sculpture.
movement or shape is accentuated (e) through outer space.

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Bob Verschueren

When addressing an installation by Bob Verschueren, what is striking from the outset, it is perfectly constructed aspect of his work is limited in space with precision and same meticulousness. Any alteration from a viewer could be an insult. This geometry is perfect, however, consists mainly of shifting elements, those who are in nature, that generate regular and irregular at once: in drying, these elements will shrink and shrivel into forms similar movements contradictory of Baroque art.
Fragments of nature he uses are often harvested in fallow fields, ditches and embankments, which, by their failure to maintain, provide access to the exuberance of nature, which sometimes produces plants rich and voluptuous.
These plants (often implemented in places sophisticated, with beautiful materials very polished arrangements), the artist has a very orderly, delicate and precious. The geometric shapes used are essentially round, square, rectangle. The proportions of insertion into a room importance primordial power because it puts them in dialogue with the space invested.
In his assemblages, he blends colors, either using different plants or at different stages of maturity: for example, a young plant-green surrounded by deep green or acid and a burnt red is associated with a pine green .
Not only the materials used to respond harmoniously to each other, but he chose them based on materials (pavement, wood, marble or otherwise) that their support.
Implemented, these elements of nature to develop their independent living, are changing the structure of his compositions remain the same but each one varies, both shape and tone, thus taking the imprint of time, an essential element of the meditation of the artist. This pulsating

of the work, through time, and is captured in images through photography: the pictures make up a process of evolution of the work and remain, after all, the testimony of a unique and sustainable intervention, essentially fleeting.
Sometimes, Bob Verschueren uses wood in interiors as old churches, preferring, in this case, places robbed or experienced by the mystics. The geometric shapes are then used essentially the cone, the dome and the niche of the church. These forms may know two different applications, whether the tip is extended toward the sky, or it sinks into the ground, in the case of the cone. Cosmology is reported here and lived.
We are entering the sphere of communication earth-sky, a concern at all times. The density of the branches into action creates a play of soft light. In the context of interventions outside the shadow fragments of these facilities has a great importance: in the forest, for example the verticality of the shaft extends, in foot, horizontal trace of shadow Bob Verschueren blooms.
Sometimes he uses the roots of huge trees whose cutting rootlets occurs along the line of a niche: we are witnessing the transition from solid to very end, a passage between strength and fragility, rootlets maintaining a fluidity of movement. They curl and change color gradually.
These mutations have their own lives, their own rhythms, the artist invites us to look like him: they invite us to meditate on life, its manifestations and its path, fast or slow to decay and destruction.

The perpetual metamorphosis of life and its material, particularly plant fascinates Bob Verschueren not point across a glance but by a psychologist artist's eye for aesthetics that meditation is essential and as important as thinking about time, life, death. All steps
Bob Verschueren induce reflection, the viewer, on time and its implications for the nature and humans whose fates are intertwined.
Some of these facilities include a rise geometrized that reminds the viewer the richness of cosmologies that are distant sources of our civilization.
How can we not mention, also that through the work of Bob Verschueren, we remember some of our cultural and artistic as in painting where the spaces are identified, where the colors are also materials with all their variations and that some contrasts are desired to express forces.

If photographs of exhibited works and taken at successive times show the effects of time on the facilities Bob Verschueren and subtleties of the integration of his work in architecture, they simply lack an important element, and c ' is the variety of plant odors from the facility. These scents, which have a random art because the artist wants nullment master the evolution of his work, we confront an enjoyment immediate physical and sensual, which is slower than that of light and keeps us close to the work practice.

If Bob Verschueren gives us, through its facilities, new lines of interpretation of life and aesthetics, he also likes to shoot, the viewer, his faculties dreamy, sensitive and intellectual because he wants the encounter with his work is done in freedom and respect: to each his own "reading" of his work in line with his experience and the discovery of his being.

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Pirkko Nukari - Sculptor flies

By Leif Blomqvist: In autumn 1999, it was the exposure of Finnish sculptor Pirrko Nukari. For two months, the regional park Tournay-Solvay was inhabited by winged creatures very different from one another: a bat, small birds dead in their coffins made of wood, a huge eagle staring at a wagtail fragile. "The creatures all have the same life in common," explains Nukari.

The source of inspiration Nukari consists of moments that constantly recur in nature while not unique: the start fatigue, death, the flight of a bird ... The starting point is universal but the sculptures are however very Nukari Finland. The calm of nature comes through in bronze and stoneware works by this artist. On the other hand, these sculptures have a strong relationship with the Finnish capital and its history: watching birds, suspend and resume their flight from a base from a very famous old building in Helsinki.

During their first presidency of the European Union, the Finns wanted to present various sides of their culture. Among the artists who exhibited in Belgium, Pirkko Nukari is the only sculptor. His works close to nature have enhanced the image of Finland. We are delighted that this exhibition has been under the cultural program of our presidency.

to learn more about Pirkko Nukari : his personal website

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Costas Tsoclis - The Ark

By Costas Tsoclis: The idea of the Ark was born a fear, in 19 ... when I saw in Paris at the Petit Palais, the exhibition of the collective Dumesnil. An exhibition containing samples of all cultures, almost all periods. I remember how the work of my generation, compared to other times in history, appeared below me, how much more empty! So I decided to save my boat any sacrifice of personal emptiness of artistic trends of the time. I left Paris and I knew back in my country (Greece), in search of juices and reasons to be as primitive as possible, regardless of the consequences of this act on my career or the news my work. Since I try to see things in their home, when I turned around when necessary to the past and using his achievements when necessary. I think that no conquest of the past prevents the future, and no mixture of memories and how do deviate.

In autumn 1990, traveling on the boat back to the past, and looking at a serene sea, but mysterious and threatening, I am reminded of Noah. And I told the architect Nikos Hatzikiriakos how this old man had been stupid to have instructed his "Ark" of all these animals, so many forms of life final, thereby depriving the nature of the potential for the unexpected, the potential of change. And I said that anonymous celluel might hide unexpected life forms, forms of life probably better, than what we already knew. And I said that really there is not something more mysterious, more vibrant, more able to become a symbol of the future, an egg produced in the past. And I said that I think this egg would be enough to perpetuate life, promising to cut him a new world. so I said I wanted to build my Ark to me, giving it a shape as basic as perfect and hide in her womb, not the seeds of natural life, but extracts of acts, thoughts, phenomena and events: which could contain an egg and a day hatch a spiritual model of another reality. But Nikos

Hatzikiriakos, fascinated by the idea undertook to study it-m ^ me the possibilities of its realization. So me, I did the drawings and he found the static solutions and uses a wooden construction company to achieve it.

colored pieces of wood from old boats that had traveled extensively joined as parasites on the tarmac surface. Voices primitive whale emerged from the bowels of the ARK. Voices existing but unknown to many of us, voices that converse with the roots of our existence. The house lights went out, they disappeared, and the only available light was the one that came from inside the Ark through the opening half-open one of the two poles mobile. In this slot you could look inside the ARK. We sealed the front door of the gallery, the visitors' entrance was by a smaller one. So we wondered how this huge, strange object had slipped away. It was as though he were born and grew up. The perplexity was reaching the limits of fear.

My work has been delivered to the audience, an audience moved, lost, silent. The tears of people who had perhaps never cried in front of a plastic event were my reward. Now the work will be transferred to Brussels as a symbol of understanding and respect for others' ideas, and tomorrow, when its interior is filled with the thought of the 260 persons will be settled somewhere, as the bearer of messages, as a symbol of friendship. A historical record of a moment of our time.

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Agroghyphe, Sculpted by Nature ....

Khoa Pham : A crop circle crop circle or in English, refers to a crop circle or crop circle. A crop circle is an area in a field of wheat or other grains like, where some heads were bent or lying down to form various geometric shapes, some in three dimensions and in two others. These forms range from simple circle of a few meters in diameter at the composition of several hundred meters involving many sections.

The explanation for the formation of these figures is very controversial. S''agit it the work of human intervention, or a brilliant sculptor, or the manifestation of beings "aliens"? Theories abound, but none of them wins. However, no one came forward to claim authorship of his works.

Beyond the controversy among researchers trying to unravel this mystery, here consider only the vision, the artistic beauty and magnificence of these ephemeral works that combine sculpture and nature. These works are an anthem to generosity, peace, unselfishness, a jubilant message of good, beautiful and good. I do remember who said: "Is it not sufficient to constitute a work of art manifests the emotion about the subject?

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Anne and Patrick Poirier Clemence van

By Anne and Patrick Poirier : landscapes of landscapes and gardens in ruins, our journey is a series of wanderings . This long journey without a map in the land of Memory and Oblivion has started more than 30 years and still continues. Trip during which we discover, in stages, the "Genius Loci", the Genius of places visited. Each charge of its own memory releasing its own vibration, inspires particular jobs. The world becomes for us an immense spaces communicating through secret doors. The last stage of his wanderings is in Regional Park Tournay-Solvay. Visitors will discover, during his walk, the cabin archaeologist. He lost in the maze- brain, look at the scenery through the large part of temp s. Using three telescopes spread around the park, he will scan, tiny and distant, the forgotten landscapes of the country wanderings.

Travel rhizomic by Jean-Pierre van Tieghem : One day Anne and Patrick Poirier went to the oracle at Trophonius Lebadea. Near the oracle were two sources: that of Forgetfulness, Lethe, and that of Memory, Mnemosyne. They are watered especially in the second.
The journey from their memory goes back to World War II around the rubble and destruction. Later, they discover other ruins and offer spectators to make fiction and fantasy read hieroglyphics. They are researchers trace, inventors of the remains. Gardens are abandoned, cities invaded by forests, sculpture collapsed. The scars of civilizations are everywhere but have nothing to do with archaeological census. It is a labyrinth where the tracks cross yesterday and today, here and elsewhere. Time ossuary is a stone, wood, fingerprints, or kept in a hut in a room. No evidence indicates no origins. They are towers of silence and solitude covered with flowers and leaves.
Myths meet, talk and interact with this in a consistent poetic and utopian. Often, Anne and Patrick Poirier participate in conversations and put them in their images. They offer Archaeologies of memory, archives of the architect, field notes, writings on the move. The mind becomes the sensible signs in a plurality of readings. The drawings and photos are open to the senses and stories.
arches began to oscillate, the sidewalls are cracking, columns and pillars fall and break in a strange allegorical disorder. We must drill slowly secret, because all that remains are the stones that are a world alone in their maze from their solid core and dumb to the countless cracks open to the imagination. The deciphering
are exciting. Anne and Patrick Poirier are surveyors who reveals the inaccuracy of a poem unknown. The abyss of emotion than any certainty. It simply is. Aristotle would say, in entelechy.

to learn more about Marie and Pierre Poirier: click the link below
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Lunen

"A branch tells her own story"

By Jean-Pierre Van Tieghem : This sentence uttered by Clemence van Lunen ago shortly articulates and means gives the sense of an elsewhere, of an intimacy and fragility of "Dasein" no safety net of being in the world before the story of the artist and then for. Where then is the difference between the body and sculpture, between the fact and received? Is the joints and destinies with or without movement?

The skeleton appears, between life and absence, between dog and wolf who does not think in colors, anthropomorphic shadows. Memories arise, a game is played, a game which worries in the body of the wood in his heart undressed by nécessité.L bone - the wood - dialogue with its cartilage, its fragility and its transmission belt, this proposed dialogue as it is, almost blinded. But complicity. Yet without respite, because the wood is its timber. S'érectile it passes, lies down and gives himself, distracted its sensual stretching on a lawn, caress obvious vegetations, evacuates the superfluous.

The viewer does not forget that the day he was at the cobbler who has his shoes resoled with a few nails and pieces of leather on his soles. And look what he has never seen: a wire, a nail in the sculptures of Clement van Lunen, then there is nothing like that.

Appears joining wood to wood, such as to culture and vice-versa, "crossroads" as Bachelard said. And it is also a path that goes in one direction. What sense? And wood speaks in its nodes and its holes in its intimacy, in its absence and in its desire for membership.

Everything is ready. The break is. Nothing will hold joint top and bottoms. The forest is hot and dreadful night for men. Everything here is abandoned. Who sits on the wood the wood that speaks for itself and speaks up, does not leave behind because he has not washed the day before. The forest teems. It is uncomfortable. "The tree carries large train here ..." in the words of Henri Michaux "Ecuador." You have to look up. So the look is oblique, where it's good to see the difference and gasoline. The dream comes later. There was lengthy. It took the bear. And this is the autobiography. How? Through the bones, the river waters and vegetable oils, in a kind of movement in space. By the way, why not, sharing a cultural and personal dreams come from elsewhere. Everybody dance acts that do not stop to make. Clemence bifurcates along the branches. These are things moving, its questions.

She looks at the body, beings (beech), names and places, the trunks and roots. She listens to obscure the liturgies. Her image in the choice of wood has its roots in his commas in its absences.Que become the legs, the knees, these navels stationary in the flesh of the woods? Waiting is long, marked perhaps lilies, with discretion. the artist part. The sculptor, her story. Life is reversed. One dies in his place: the place of the tree and its roots. The slope is fast. Like a storm that mark, that hurts. Just take a look at itself on its body. And reflect.

to learn more about Clemence van Lunen: site

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Tournay-Solvay Park

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By Simon du Chastel: Tournay-Solvay Park is a steeped in history since its occupation, 7,000 years ago by the same tribe of prehistoric men than Spiennes, near Mons. Venus
Bonn, Germany, these men who were the first miners extracted at Spiennes best cut stones in northern Europe. These stones are easily found in Boitsfort, near their former stronghold, the location of the ponds' children drowned. These prehistoric men also occupied the hill nearby park Tournay-Solvay, due to the proximity of the two ponds in the property.
At other times, this site was the starting point of many hunts in Zoniënwoud. These were practiced by nobles, princes and emperors, such Maximilian of Austria and Charles the Fifth.

But first the history of this park which, in a poll commissioned by Minister Jean-Louis Thys in the eighties, was considered the most beautiful park in Brussels after Park Royal. Located southeast of Brussels, the Regional Park Tournay-Solvay expands its 7 acres between the Chaussée de La Hulpe, the drève of Two Mountains and the railway line Brussels-Namur. Its entrance is next to the station Boitsfort.
Part of the park belonged to a major owner, Théodore Verhaegen, the founder of the Free University of Brussels, anticlerical Freemason and if there ever was, as students celebrate the "Saint Verhaegen.
Subsequently, a portion of the land was sold to Alfred Solvay, who built the current two-stage castle, more precisely what is left.
Alfred Solvay and his famous brother Ernest produced in their factories in the ammonia soda in a revolutionary process. Their factories, located in the United States to Russia, show the prosperity of their business. These entrepreneurs and visionary humanists will not hesitate to devote part of their fortune to the welfare of their employees, but also architectural achievements of great fame, such as Hotel Solvay, by the famous Art Nouveau architect Horta.


In 1879, Alfred leaves the factory management of Couillet to devote himself exclusively to the general administration of the company. He then moved to Brussels on his property in Boitsfort. It is for architects and Henri Bosmans Constant Vandeveld he commands his mansion plans. They are collaborating on several occasions with the Solvay family, especially for Ernest.
They realize the new headquarters offices of the Company in Ixelles (1883) and study the changes and the interior of the mansion of Ernest Solvay Rue des Champs Elysees in Ixelles (1884). It's still the ones who take care of the building, in the Leopold Park, the beautiful library of the Institute of Sociology (1901), better known today as the Solvay library and the School of Trade (1903), currently housing the School Emile Jacqmain.

Castle. Vandevelde Bosmans and erect in 1878 the first part of the castle in a Flemish Renaissance style somewhat fanciful recalling the style of Van Zeeland home located a little further, near the Boulevard du Souverain. The architectural review the Emulation commenting on the projects and achievements in vogue at the time, devotes an article.
define place as a country house, he praises the personal touch of its neo-Renaissance Flemish, unity and the weighting of the materials in the composition of the facade, and the quality of comfort.
The building draws its inspiration from the eclectic and imaginative vocabulary Vredeman de Vries, a famous theorist and ornemantiste the sixteenth century. Alternating red brick and white stone, its facade consists of two connected by a loggia advanced upstairs and a gallery surmounted by two basket-handle arches on the ground floor. Scrolls, decorative columns, friezes of grotesque and sprockets complete the atmosphere.
The second part of the castle, a double tower designed by architect Jules Brunfaut, was completed in 1905. This architect, best known for building the hotel Hannon, of Junction Street in Brussels, thereby accentuating the picturesque castle, breaks the symmetry of the composition and increases the verticality of its silhouette. It also incorporates the loggia to the building by closing windows, while the double arch of the gallery will see simplified into one. If this architect Henri Beyaert student engages in the Art Nouveau Hotel Hannon, yet it remains a classic, as confirmed by the house he also realized in 1888 for Alfred Solvay, Avenue Louise.


plans of the castle, taken in the Emulation, can only view the building, which is present in a fairly standard distribution of parts: "The porch gives access to a hall, followed a vestibule and grand staircase that occupy the center of the building. On both sides of this area traffic, the two wings accommodate the dining room, lounge, smoking room and veranda. Upstairs, the office of Alfred Solvay opens onto the loggia, which occupies the center of the facade. The rooms are arranged around a large clearing. In the basement, are divided kitchens, laundry rooms and basements equipped to properly store wine, beer, fruit ...
The castle location is exceptional: the view plunges into a valley that is home to two ponds, with water from the pond of "Kids drown" and two springs in the park. These ponds
feed all ponds in the valley of the Woluwe, which set themselves up countless abbeys, castles, mills and farms, now replaced by offices, insurance - such as: Royal Belgian - AXA.
From the castle to drown in Zoniënwoud, no house is Boitsfort visible.
Alfred Solvay and could flee to these places very fortunate in Brussels, the smoke of its factories, and decorate his castle-palace of beautiful furniture and a large library. This, on the death of Theresa Tournay -Solvay, was given to the National Library, which saved the heritage of the fire at the castle in 1982. Fire caused by young squatters who lit fires timber, not in the chimneys, but on the floors! Remained in ruins, the castle is "colonized" by the vegetation and wildlife.
Meanwhile, major developments made in Brussels during the reign of Leopold II has caused many upheavals. A new road was created, the current Boulevard of the Sovereign. On this occasion, Mary Martinez, wife of Alfred Solvay (died prematurely in 1894), bought both to enlarge his possessions to preserve the site, the land between the street from the pond and the "New Avenue" .
In 1920, Therese Tournay, a daughter of Alfred Solvay who inherits the property, built by architect G. Collin concierge and outbuildings. Admission is rearranged and both sides of the property are connected by bridges over the streets of Flint.
After the death of Theresa Tournay, the site is threatened by a proposed housing and offices, which is rejected by the municipality of Watermael-Boitsfort.
Bought by the Brussels Region, the park has benefited from refurbishment work to be open to the public in 1981.


Park. The park has two sections, joined with pretty ironwork bridges nineteenth century neat that overcome a pedestrian street in ancient cobblestones rounded by time. This little street is called "Street of Flint," probably because Boitsfort is built on a sand filled with flint, and perhaps also in memory of the weapons and tools of our distant ancestors.
The first part of the park along the road from La Hulpe, is inhabited by rare trees and beech trees such as Sequoia, hazel of Byzantium, and many other species. It was designed in 1911 by Jules Buyssens: a leading landscape architects of the first half of the century plant inspector the city of Brussels and an author of garden Van Buren. It was inspired by the spirit of English gardens, creating winding paths, already filled in the past a water drainage system and recently coated small brick in shades of autumn leaves.
Central to this English part of the park is the famous rose garden of Solvay, built round trays traffic running down the central point: a column bearing a finely carved sundial. To get there, walk on four tombstones of the noble families. It is the favorite place for lovers, retirees ...
This rose garden was restored and even reconstructed by the Brussels Region and a member firm of the garden designer Rene Pechere: J.Boulanger Francis. Everything is neat: roses in various varieties, the wooden benches and pools of water, provided with stairs (for the frogs!)

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Jephan de Villiers

By Emmanuel Driant : Behind the earth-that-there is the land-that-is. The work of de Villiers Jephan demonstrates that another land, shows us another affirmation of the realities outside the area daily, from a bit away in the wind with a sound was lying in the mask matte shades in the shuddering shapes, nodes and landslides, thicknesses fragile and fleeting immobility. The work
Jephan de Villiers is built from something that would leave the forest to happen almost by accident. Clever capture of what was believed stolen forever, and that the eye and the hand fall, deploy, lodge and contemplate.
Behind the wind, the folds in the land stretches and separates, is accomplished in silence, without history, a nation of images and figures. The prospector renders the day. These epiphanies that allows the poet by degrees and it manages possible overflows, are both sculpture and theater, staged a world first traces, forces, feelings, carrying powerful images, the middle of our origins and our questions as always: the forest.

The forest walk is starting at the same time as the culmination of the quest, which loops back to recovery and every new exploration. From the perspective of the other land, the walker does not move, it is in the center and the welfare of the world. At every step the path unfolds, the walker is already in his work. Thought spins, attentive to what might happen without the knowledge feet. He did not visit the drève logs. The work is never true, it is always right. As it feeds on bits of trees, erosions of the strains, the scum of the dispersion, one would think she was born by chance. Indeed, everything is still possible, but never anywhere, anyhow, anytime. At this time every gesture of the earth is unique. Such fortuitous fold in the ground is the promise of a track. Then the eye and the hand is likely, or instinctively levy which will confirm the work, carry forward of itself, make it become. The paths are interior.
The forest is a suitable subject. A den of virtual treasures. All the senses perceive in the language, share and combine, depending on the season, in the workshop of the imagination. This collection diversified unexhausted over months and range, where each element responds to all the others, establishes without doubt in our walker a sense of space and a prosperous living temporality, which give an award to his wandering a coherence unformulable. And with him we are treated to a new learning places, listening to us in a forest always taking a different direction than herself, before itself (such as bifurcations of the branches of the tree, far away from the trunk, encouraged in its roots).
To signify the exchange, the sculptures are sometimes reloaded onto a strain in the notch of a tree, or buried in earth off in a subtle ecology, that the march had turned away from the humus, the better fertilize the adventures to come.
There are several time for this walk. That of the forest in spring and summer, instead of contacts, traffic, mixtures, aeration and metamorphosis. Between heaven and earth, branches and foliage draw a writing made interlacing and breaks, lights and disorder, where the veil and reveal themselves in the beating of events constantly invention, the extravagances of the foliage, the foliage large, the exuberance of light, ventilation rustling of flights of birds, the joys of the squirrel navigating in outbreaks of branches, where the truths, shining and provisional, merely to dress up and go to be blinded.
Then the leaves crumble, while the humus collects. Metamorphoses outlined will deepen or fainting. The wind, without prey, is more than the other side of silence. Walker ponders deal with pure presences that are unanswered if it is to be there. The earth is more festive, it is radical. And its edges, its fringes, appear possible figures. accidents of wood and stone are gaining stability, eternity. The work has inspired the forest, which in turn calls the hand Jephan de Villiers is looking for the immanence of the world.

learn more about Jephan de Villiers:
Galerie Béatrice Soulié
His career

Seven Seas Yellow Italian Dressing

Bernd Lohaus

By Luk Lambrecht : The primary language that appears on rough supports sculptures Bernd Lohaus is a visual data to detect the relationship between language and sculpture. The addition of words is a piece of wood or a block of stone is born of associations and affinities with the first "signs" historical writing and communication. Humans communicate through language, he led the decoding and interpretation towards a given objective, which may, as appropriate, vague or specific. Lohaus believes its stones and wooden beams, it selects with love, are the vectors of a discourse that characterized his life and showing so say the need to "shout to the world" in a concentrated manner, exemplary and significant.

The German language (which is the mother tongue of Lohaus) In addition, for those who are not German, expressive resonance, compact and accurate in content. The recent work of Lohaus happening more and more of the presence of the language. The sculptures transparent "keep quiet" methodical in their structure, they plan to return "words" they burn on the retina of the viewer.

seems Bern Lohaus wants outlaw readable language and son drivers to make interpretations and he wants to communicate to the viewer through a priori mental activity alone. The monumental sculptures horizontal Antwerp, Thames (Temse), Kassel and Eupen are virtually devoid of text and draw their strength from how the artist arranges and directs the beams on top of each other and to each other side. The sculptures become imaginary pedestals, stands for thoughts and ideas.

The weight of such exotic beams, ravaged by weather and forgotten merchants interesting physical causes tension between the material chosen and the artist. The "manipulation" in the literal sense by human elements of a sculpture, is no longer possible: the making of the work of art is in its very construction which involved a social dialogue, doubt and mechanical skill. Unlike the game of Mikado, Bernd Lohaus sculptures are the result of an artistic manner, deliberate. The fact layer and arrange next to each other beams of such weight to make a sculpture open, accessible, where you can even get physically combines intuitive considerations related to the objective, rational limits to relating to the location of the sculpture. The sculpture becomes more and more a place. Those who have had the opportunity to visit the town of Thames (Temse), where Lohaus has placed one of his most impressive sculptures in an empty spot and left, between the Scheldt and the church, have seen that he genuinely intuitive place and it fills to perfection. The symbiosis between the complementary associations - the Scheldt, the gateway to the world, exotic wood beams of the sculpture and the positioning of the work in injury "open" the urban fabric of Thames - causes an accumulation exciting to content implicitly stratified by means of a sculpture in itself completely abstract.

Sculptures Bernd Lohaus are ordered structures or rather precise contours, which do not correspond to strict geometrical definition. With its recent "land measurements without words," Lohaus seized the massive void in the boundaries that suggest both architecture that Al rich history of sculpture. A comparison of

Bernd Lohaus with the work of American sculptor Carl Andre required. Unlike the latter, which generally turns the materials he chooses to make items similar in form to arrange then in a space with a vision very mathematical, Lohaus retains the different elements of the natural appearance of his sculptures in which he found them and the agency does not as dogmatic rules!
As in the work of Carl Andre, the artistic production of Lohaus exists only in the specific context of the exhibition. The work which, once the exhibition is over, is stored in a shed or a workshop permanently retains the right to propose, in another context, a new vision on the perception that the audience has had.

I compare the sculptures of elements separated single words in the context of a sentence taking effect. Lohaus is a sculpture of a phrase "mass" whose material appearance creates a field of meanings which also precludes any decoding strictly tautological material.

sculptures Lohaus, because of their loose construction, are never "finished": they live a vagabond existence, as the material from which they arise, and remain on a metaphorical level, comparable to "mobility "in artistic and creative thought.

The exposed horizontal wooden sculptures in a park to provide an answer and say "cultural" to the development of artificial nature, the park, quiet and protected full of trees to verticality majestic symbols of the organic sculptures Lohaus. The dialectic between culture and nature talking up the visitors at an enclave: Bernd Lohaus up so to speak "patios" organic that invite visitors to develop a mental vision on art, culture and nature.

The suggestion of a movement stratified wave in her sculptures is a defining characteristic, as if the retail frozen (immobility) as an image in-convulsing wanted to draw our gaze on the course of the timeless things.

learn more about Bernd Lohaus : click on the links below
Galerie Bernard Bouche
SMAK Museum

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José de Guimarães - Voices Nomads

snippet of text from Colette Lambrichs

José Guimarães is Portuguese . Like his ancestors, he crossed the seas from every continent and, like them, it deposits, in places where it landed, strange objects, witnesses of its future passage. What religion are they instruments? What do they soothe anger, and what god? They are designed according to the place where they will stay?

Trees to words. vibrations in the art are reminiscent of the music. Listening to it leaves growing on the branches, the look on their movements in the ar States. The pigments are fooling with the colors, like matter in a volume. Calling the light shines in the eyes. The head is filled with playful beauty who pushed into the ground and climbs the trunks of trees. She leaves the dancing body and become the dance of the volumes. The undulations of the letters forming the words in any sensual smile. Historically, José de Guimarães plays with words. He confuses the birds singing, the wisdom of a totem, the mystery a mask, the spirit of a nebula. It turns them into a poem that juggles in the life of myth and everyday life, like a piece of photo in a collage, the word "amor" in a painting, a sculpture in a telephone pants.

Playing with shapes whose vibration refers to other sounds, other meanings, far into space - far in ourselves - José Guimarães delivers encrypted messages poems in three dimensions through the wall of languages, religions, customs and civilizations.

to learn more about José de Guimarães: click the link below
Bibliomonde

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Sophie Nyns - gestures in statuary

By Ida Jacobs The casual serenity of the statues. Fantasy gently ironic works of Sophie Nyns, the quiet joy of his characters while grace and poetry tell us that happiness, relieved of the burden under which we often derisory conditioning them, consists of simple things. This way of paying tribute to life, this exquisite politeness that art lucid dreaming when joined humor are not surprising when you know the author.

Born in Brussels in 1926, Sophie Nyns is the only daughter of an open pair on the cultural world. His artistic vocation is manifested very early, and his fate was confirmed when she is studying pottery and ceramics at La Cambre, where she became a student of pioneering ceramic sculpture in Belgium, and Pierre-Caille as workshops at the Academy of Boitsfort.

During this training period, she met artists that mark the Belgian landscape painting, drawing, architecture and sculpture. The women she sculpts today in bronze, these characters who wear their gaze away, haughty nude breasts senior whose body belies the detached expression of the face, and sometimes become mischievous angels by the grace of a small pair of wings, are striking proof, if any were needed. They receive securities Eric Satie would have disowned for his scores, which temper in a fun and modesty as the unveiling of the feelings induced in the curves.
" Beautiful Day", " love, it really fatigue", "no, no ", " dancer dancing ", "serene and yet Waiting "tell the very serious subject of seduction in spicy little joke, the ladies did not hesitate to adopt a cap or a shawl as supporting the eternal feminine flounce.
If the" angel musician "smiled the temperate gaiety, is crowned by peace he meets the bronzes of pigeons to clean linens and elegant." Pigeon in the industry "," quiet little pigeon, "" happy little pigeon, "and" Tuft "express many odes to nature through the serene representation of one of its smaller species.

The artist considers another chapter of his talent by "Centaur gay" and "centaur a little shy." The spirit of these works looks surreal with "horse and lady," a sculpture designed, it is the word, as the indispensable premise for the birth of a centaur. This small bronze composed of two elements that overlap causes various reactions among the public. Some, in tune with the artist, his humor refreshing welcome, others are offended. Sophie Nyns, smile at the corner, having fun.
For several years, his exhibitions are devoted to the lost-wax bronzes, a technique that it has learned well. When asked why she left the sculpture ceramics, it begs the answer, but launches a terse "because it broke." Words uttered with the most serious. Sophie Nyns do not deliver, his work and his career speak for her.

Since 1949, numerous solo exhibitions in Brussels and elsewhere in Belgium make the public know its ceramics. They are followed by all exhibitions, both national - with Val Cambre "museums of Ixelles and Louvain-le-Neuve, galleries Dewever of Carnières, Ago - international, Berlin, Bogota, Barcelona Lozt, Cape Town, Paris, Marseille and exhibitions organized by the State Middelheim Antwerp museums in Ghent, Hasselt, Mons and Verviers and the Palais des Beaux-Arts in Brussels.


learn more about Sophie Nyns: reviews Colette Bertot