關於
【獲獎】
以優等生畢業於聖約斯特藝術學院(登博斯,荷蘭)(1989)
揚·霍特 (Jan Hoet)獎,由比利時策展人揚·霍特評選(登博斯,荷蘭)(1989)
盧卡斯(Lucas)獎,由荷蘭登博斯的獨立評審團評選並授予聖喬斯特皇家藝術學院最有前途的研究生(1989)
優秀畢業生提名,Centraal Beheer(阿珀爾多倫,荷蘭)(1989)
荷蘭國家藝術基金會BKVB 獎金(1990)
獲揚·霍特 (Jan Hoet) 提名參加卡塞爾第九屆文獻展(1992)
代表南荷蘭參加“Counterpart”,與 7 位藝術家聯展,由記者、出版商、藝評家Aart van der Kuijl博士評選,
藝術中心省府 Noord-Holland(哈勒姆,荷蘭)(2021)
【收藏】
Kikx Development (鹿特丹,荷蘭),NLisUSArt,企業藝術收藏(紐約,美國),“茶斯洛尼娜藝術娃娃屋”,企業藝術收藏,(鹿特丹,荷蘭),荷蘭政府藝術收藏代爾夫特藝術中心(荷蘭),私人收藏:Dietmar Konrad(厄斯特林根 ,德國),藏家遍及歐洲、美國
【創作歷程】
莉莉・德邦特 (烏爾文豪特, 1958) 的畫作既是對原型繪畫的破壞又是重建的替代品。 德邦特通過將畫布切成碎片,將其從畫框上取下,作為一種反向編織的行為,正面攻擊了這幅畫。 雖然她最初用石膏或環氧樹脂加固損壞的帆布,但近年來帆布一直保持柔軟。 她手持手術刀,像一位經驗豐富的病理學家一樣仔細地解剖畫布。散開的線鬆散地垂下並改變了整體外觀,包括當作品傾斜或以不同方式懸垂時的尺寸。木製畫框(如果有的話)像骨架一樣暴露在外。在其他作品中,線條變得獨立,並通過她所謂的截肢術進一步解剖。最後,畫布也可以沒有框架。在這裡,她的作品觸及了法國Supports/Surfaces 藝術家的原則。正是畫布的「準備」、還原,進一步深化了「美與毀滅」的主題,暴露出前所未有的可能性。
她自己談到她的工作方法:「隨著線的解開,我發現織物實際上是一個網格。通過使用網格來精確定位油漆、構圖,我擁有無限的可能性,並對結果有更多的控制。 通過剪掉塗漆部分之間的亞麻布,我將它的一部分交給重力。這種不可避免的力量在作品中變得可見。塗漆部分本身將亞麻布固定在一起,現在是作品的建設性元素。 以前是由畫框完成的。」
在最近的作品中,不再有前後之分。 德邦特在畫布的兩面作畫。 這些作品與牆壁成直角懸掛,就像金屬結構上的旗幟。 一側是另一側的鏡像。 這件作品既非常平坦又非常有空間感。 很遠又出乎意料地接近我們通常對一幅畫的期望。
莉莉‧德邦特(荷蘭)在鹿特丹生活和工作。1989年。她獲得了「盧卡斯獎」和「揚・霍特獎」,並被揚・霍特提名參加第九屆卡塞爾文獻展。最近的展覽包括NL=US畫廊(鹿特丹/紐約,荷蘭/美國)、VOLTA(紐約,美國)、Furnace畫廊(福爾斯村,美國康涅狄格州)、Artphy(翁斯韋德,荷蘭)、Sebastian Fath Contemporary(曼海姆,德國)、Transmitter(紐約,美國)、台中藝術博覽會(台灣)、虫二藝術(台南,台灣)。
The paintings of Lily de Bont (Ulvenhout, 1958) are both a destruction and a reconstructed alternative to the archetypical painting. De Bont attacks the painting head-on by cutting the canvas to pieces, removing it from the stretcher as an act of reversed weaving. Whereas she initially stiffened the damaged canvas with plaster or epoxy, in recent years the canvas has remained supple. Armed with a scalpel, she carefully dissects the canvas like an accomplished pathologist. The unraveled threads hang down loosely and change the overall appearance, including the dimensions when the work is tilted or draped differently. The wooden stretcher, if present, is exposed like a skeleton. In other work, the slats become independent and are further dissected by means of what she calls amputations. Finally, the canvas can also do without a frame. Here her work touches on the principles of the French Supports/Surfaces artists. It is the "preparation" of the canvas, the reduction, that further deepens the theme of "Beauty and destruction" and exposes unprecedented possibilities.
She herself says about her working method: "With the unraveling of the threads, I discovered that a fabric is actually a grid. By using the grid for precisely positioning the paint, the composition, I have infinite possibilities and more control over the result. By cutting the linen loose between the painted parts, I hand over part of it to gravity. This inevitable force becomes visible in the work. The painted parts themselves, hold the linen together and are now the constructive element of the work. That which was previously done by the stretcher bars".
In the most recent works, there is no longer a distinction between a front and a back. De Bont paints both sides of the canvas. The works are hung at right angles to the wall like flags on metal constructions. One side is the mirror image of the other. The work is both extremely flat and extremely spatial. Far away and unexpectedly close to what we usually expect from a painting.
Lily de Bont (NL) lives and works in Rotterdam. She graduated with honors from the Sint Joost Academy in Den Bosch in 1989. She received the "Lucas Prijs" and the "Jan Hoet prijs" and was nominated by Jan Hoet for Documenta IX. Recent exhibitions include NL=US Gallery (Rotterdam/ New York, NL/USA), VOLTA (New York, USA), Furnace Gallery (Falls Village Ct USA), Artphy (Onstwedde, NL), Sebastian Fath Contemporary (Mannheim, DE), Transmitter (New York, USA), Art Taichung (Taiwan), Bug 2 Gallery, (Tainan, Taiwan).