THE WORK OF ART HAS NO SEX. NE...
The work of art has no sex. Neither do angels have one. Works of artfind a form that forgets the autobiographical identity of their author.
Thus they become an entity provided with a future memory that goes
beyond common reality. Art is not male or female: its product belongs
to an androginously undeterminated zone that plays on the elaboration
of language and form. Indeterminateness is the quality that the artist
looks for. It is able to break dogmatism and immediate existential
conditions. This is how art takes a step from daily news to History,
from ephemeral to longlasting conditions.
An archetipal idea of figure is Marcel Everling's art focal point, it
holds the centrality of his work, it carries the intention and the
willpower of his imaginary. The figures of his art may be varied and
ever-changing, flexible and incisive as the quick strokes that outline
them, but they always hold the power to seduce and to dazzle, to assume
original and unforeseen shapes, to speak without using the language of
everyday life. Marcel Everling's figures therefore portray on one side
a lack of balance between their own image and those external to them,
but immediatly after they produce a state of integration and harmonic
balance similar to a condition of distant contemplation or thoughtful
and absorbed meditation. It is in fact significant and not at all
random that the figures' poses are somewhat fetal, cuddled and closed
up in circle, both defending themselves from an improbable surrounding
and marking their belonging to the vital circle that binds together
life and death, reality and imagination, awareness and confusion.
The artist's work helps to create a wedge, an opening between the
serenity of social communication and the turbolence of the artistic
gesture, so as to favour an epiphany that is to be admired and not
feared. In his drawings depth becomes a surface space in which figures
take place horizontally and vertically emerging from the background, to
the point that the space ends up cancelling measurable dimensions and
rational perspectives and absorbing them into its own presence.
As well as in Schiele there is movement that negates space, putting the
figures in a position of maniacal protagonism, crushed between the
bidimensional substance of the pictorial space.
The antropomorphic figure, whether it be male or female, of an adult or
of a child, however all bent into a pose that is meant to exalt its
presence, it is crowned by a void which recalls that of the old
Japanese graphics. The blocking out of the figure from its context
draws attention towards facial expression and parts of the body that
are fluctuating from a symbolist taste to the flesh tones of Gothic
medioeval painting, offering a sofisticated elaboration of style that
is rooted in the drawings of Gunther Brus and Enzo Cucchi and the
mysteriosophical simbologies of Hermann Nitsch.
Gianluca Ranzi, Gallery Gian Luca Ranzi, Antwerpen