The oeuvre of Brussels artist Jacqueline Mesmaeker (1929) began to develop in the mid-1970s, and has been driven until the present day by a permanent desire for her art to be perceived not as a collection of static artefacts, but as a temporary crystallisation of form and content. Her works are often revised over time through subtle additions, repositioning or through adapted presentations with other media.
In the 1970s, Jacqueline Mesmaeker was a pioneer of complex, imagery-rich film installations and created peerless poetry in masterful works on paper, in simple and subtle sculptural constellations and in precise, sometimes coincidental interventions in her working and living environment.
The sea, world literature, art history, her countless collections, and her performances and observations, developed and brought to life with simplicity, make her work an oeuvreof lasting wonder. Her artistic output reflects the movement of ebb and flow – images and thoughts are made present and then absent in a tentative attempt to materialise the poetry of things and of life in a wide range of art.
Variables, a series of extremely free designs made on lambda paper: squared sheets for
binders, lined stationery or printer paper. The very gestural shape, almost a graph, is always
made of several colours and inscribed in the middle of each page; together they form a staggered frieze.
Sequences. Yes, these obsolete photographs of a vase of red roses placed in the half-light on a kitchen table work in sequences. The lens of the artist's camera jumps and dances in front of the object, multiplying the shots. He is the one who is in motion. Jacqueline often works in a layered way, superimposing the images. Here, she breaks down the camera's movement and juxtaposes the shots. The photography is both filmic and pictorial.
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