In its september 2024 issue #22, the Contemporary Art Magazine ArtistCloseUp, widely read among professionnals, presented some works of the French-Belgian Painter-engraver Karel Vereycken.

On July 23, the magazine published an online interview with Karel on what motivates him and his creative method.

Karel Vereycken

Born in 1957 in Antwerp, Karel graduated from the Institut Saint-Luc in Brussels and trained in engraving at the Académie Royale des Beaux-Arts, where he obtained a certificate of passage « with distinction. » In France, as a member of the Fédération nationale de l’estampe, he confirmed his technical mastery at Atelier63 and continued to perfect his skills in the Paris workshop of Danish engraver Bo Halbirk.

Complete biography

Written By Editorial Team

What is your background and how did you start your journey in the art world?

“I was born in 1957 in Antwerp. My parents worked in the port and the ship repair industry. Their adolescence, studies and careers were reduced to zero by the war period and the need to bring an income and feed their brothers, parents and family. So for their children, my parents thought we should have the occasion to fully enjoy and explore the cultural dimensions.

My mother, who was prevented by the war to become an opera singer, got me into a music school. But at that time, the teaching methods, basically learning to read scores for two years before ever being allowed to sing, were so repugnant that I ran away from that. As an alternative, my mother sent me to a communal drawing school directed by a talented sculptor named Herman Cornelis. The bearded cigar-smoking giant would rip pages out of old books and stick them in my hands saying “copy this!”

At the same time, my father would take me every weekend to visit the numerous museums of Antwerp where paintings of Bruegel, Rembrandt, Bosch, Rubens, Van Eyck and many other Flemish masters were on show. Father couldn’t really explain why but knew this was somehow very important.

Antwerp has also a well preserved XVIth century print shop of Christopher Plantin, a French humanist who worked in that city in the 16th century with many cartographers such as Mercator and Ortelius, whose engraved globes and printed maps impressed me deeply.

Then, at age 12, I won my first art prize and my teacher convinced my mother “there was precious talent” in me. With that advice, my mother sent me to Brussels to attend the Saint Luke Art School and study Plastic Arts. Some teachers were quite annoying but others got us into deep study of anatomy, examining Leonardo da Vinci and Albrecht Dürer’s groundbreaking studies. I continued another two years at the Ecole Royale des Beaux Arts of Brussels to study copper engraving and got graduated “with distinction.”

I then moved to Paris and worked as a journalist and editor of a non-commercial militant paper. But after some years, I found out art was really lacking in my life so I returned to it. First by producing copies of old masters painting on wooden oak panels with hand-made egg tempera, venitian turpentine and various other ancient oil techniques I rediscovered with a friend of mine.

Since the people that ordered these painting took them home, at the end, I had nothing to put on show. Therefore, I returned to watercolors and etching. I also gave a three year course of drawing for some of my friends, mainly amateurs and beginners.”

What inspires you?

“What always attracted me in painting and imagining is the way art “makes visible” things and ideas that are “not visible” as such in the simple visible world but which “appear” in the minds of the viewer.

It took me over twenty years to sort out the difference between “symbols” (a “convention” accepted among a group or a code system designed to communicate a secret meaning), and “metaphor” which by assembling things unusual, by irony and paradox, allows the individual mind to “discover” the meaning the painter intended to transmit.

Such an approach offers the joy of discovery and surprise, a deep human quality. Modern art started as a non-figurative form of symbolism till “contemporary” art brought many artists to put an axe into the very idea of poetical meaning.

In 1957, the CIA sponsored, under various covers and often without the artists even knowing about it, many “abstract” artists to promote a form of art that it considered coherent with its ideology of “free enterprise.”

So what inspires me is true human culture, be it Chinese painting of the Song dynasty, the Buddhist sculptures of Gandhara, the early Flemish masters or the magnificent bronze heads of Ifé in current Nigeria. Bridging the distances in space and time, religion and philosophy, stands the celebration of unique human capacities, that of compassion, empathy and love.”

What themes do you pursue? Is there an underlying message in your work?

“I don’t pursue themes, they pursue me! My aim is to shock people by showing them that nothing is more “modern” and “revolutionary” than “classical” art, not understood as annoying academic formalism, but as a science of composition based on non-cynical, liberating ironical poetical metaphors, who are the key to all forms of art be it in the domain of the visual arts or music. Art is always a “gift” from the artist to the viewers and the act of giving is an act of love. That is the message.”

How would you describe your work?

“I consider my work as part of a teaching activity, as a sort of humanistic intellectual guerrilla “warfare.” Even if I appreciate selling my works, and get more resources available for my art work, I’m definitely not out to please a given public or to market an aesthetic object. What counts for me is to get viewers to reflect on how “art” can be a “window” to a dimension people intuitively know as important but were never given access to.

I also took dozens and dozens of friends on guided tours at the Louvre in Paris, to the Frankfurt Museum or to the Metropolitan in New York. Some of these guided visits have been audio-taped and are available on my website. After these tours, most of those I guided thanked me warmly saying “I never even suspected to what degree ideas are transmittable through paintings.””

Which artists influence you most?

“I have studied in depth the European renaissance in the works of Ghiberti, Van Eyck, Leonardo, followed by Piero della Francesca and Dürer, arab optical science gave us the science of perspective representation. I wrote several book-length articles on Rembrandt whose tenderness and profoundness moved me to tears. But if one looks to his life, he’s main quality was not his natural talent alone but the fact that he was such a hard worker. For example, to have your portrait done by Rembrandt, you had to pause for some time every day in his studio during at least three months! Having natural talents makes artists lazy! But having good results after much hard work is the trait of genius.

Deciphering Hieronymus Bosch images in his paintings brought me to explore all the ironies of the 15th Century’s Dutch language brought up by Erasmus and his circles. Viewing all of Goya’s work on show in Madrid was another shock to the degree that his painting is so political while remaining beautiful visual poetry in its own right. Emotionally, I identify mostly with him who saw, just as me, both Rembrandt, Erasmus and Bosch as the sources of his elan. Today, Gandhara Buddhist art is adding new dimensions I ignored and helps me to add the required nuances to my views mostly centered on European art.”

What is your creative process like?

“It takes a lot of courage to overcome the fear to be “completely alone” while you walk a road nobody ever walked on. Everything starts by having a “spark” of imagination and forge it into paradoxical metaphors. As an example, the way I created my work Stairway to Heaven (color etching on zinc, image 3). It started with my examination of the fantastic Chinese landscape paintings. Going through pictures of Chinese landscapes, I realized some of these paintings were not pure imagination but based on landscapes that really existed. The most fascinating of them are certainly those of an area called “Yellow mountains.”

Now at that time, I was also unraveling the way the Flemish painter Joachim Patinir painted his landscapes, as objects for religious contemplation. In the latter’s painting, man is seen, as in Augustinian philosophy, as a pilgrim, who has to learn how to detach himself from earthly possessions, that attachment considered a source of evil. The pilgrim is at the crossroads. By his free will he has to decide, either to take the easy road downhill or the difficult road uphill where he will reach out by going through a small gate.

So in my etching, I “married” a landscape from this Flemish school (on the left) with a view of China’s Yellow mountain. Initially, I had left out the pilgrim, but by working on the landscape, the idea came back to my mind. To accentuate that the road downhill was the road to evil, I added an owl, in Flemish folk art a symbol of evil since able to see in the dark and to grab you in your weakness. So, as one of my friends says, “behind Karel’s works, there’s always a story,” but it is up to you to discover it !”

What is an artist’s role in society and how do you see that evolving?

“I see on the internet dozens of very talented artists, the world is full of them! But what is required is a turn. What we need are political and financial elites willing to promote a culture that give these talents the chance and the means to shape the public and urban living space. We need a “culture of art” that makes people more and not less human.

As the German poet Friedrich Schiller said in his poem “The artists,” it is them that have the dignity of mankind in their hands, with them humanity rises or falls. Today, a much required turn is desirable. The despicable dictatorship of a handful of greedy gallerist sitting in London, Zurich, Venice and Geneva and deciding who is or is not a valuable artist should be brought to an end and I’m not even mentioning the laundering of criminal money it involves.”

Have you had any noteworthy exhibitions you’d like to share?

“With my colleagues from the workshop of Bo Halbirk in Montreuil, it was really nice in June 2024, to present my works at the 6th Exhibit of Contemporary Prints at the Paris Saint-Sulpice market. Going public, meeting art lovers and fellow artists is always a pleasure and a way to open new avenues. I need more of that!”

Website: artkarel.com

Instagram: @karelvereycken

Other links: www.facebook.com/karel.vereycken