A rebirth of form and colors’ relational capacity
Full of experience, we can modestly stand up through joy and reach beyond today’s pessimism. The Experience Economy might have defined the cultural parameters that lead up to the crisis, as they failed to stimulate an awareness of what this economy's saturation might lead up to. We can either destroy or ignore this saturation’s façade, or we become resistant because of our relation with those experiences.
Both Yasser Ballemans and Esther Tielemans do so modestly and elegantly. Utilizing modernist attitudes (Ballemans) or modernist techniques (Tielemans) they not only relate to the heritage that generated a post-colonial façade of western wellbeing, but reposition with newly found integrity.
Inspired by intuition and forms, Ballemans activates his audience in practice. As described in the Manifestation publication, his works are a lively theatre where masks appear within or next to the crowd. It is a sociability of playfulness. Meanwhile Tielemans situates her work as a scene, as a decor, in which abstracts become present and allow us to mirror our shade's physics.
The edginess of this work is caused by naïve but politically neutral positions of forms and colors; a modern legacy that simultaneously frames the artistic play in basis. As such this play is primal, is conduced via amateurish therefore recognizable effectiveness that appeals to our gut senses. Professionally processing this sensibility and in expanding upon the capacities of the modernist age as it enters the realms of contemporary culture’s vulnerabilities, these works generously allow us to execute the integrity of artistic play in a doubtful era. Experience calling for contemplation.
artists: Esther Tielemans, Yasser Ballemans
loans from: sundaymorning@ekwc, Gallerie Akinci