Tony

Above: Portrait of Antonio Valls, 2015, charcoal on paper, approx. 40 x 30 cm.

Alain a.k.a. Napoléon

Above: Alain a.k.a. Napoléon, 2013, charcoal on paper, fusain sur papier, carboncillo sobre papel, 63 x 47 cm
  

Vincenza

Below: Vincenza, 2013, charcoal on paper, fusain sur papier, carboncillo sobre papel, approx. 47 x 38 cm.

  

Isabel

Below: Isabel, 2012, approx. 52 x 42 cm, charcoal and pencil on paper /carboncillo y lápiz sobre papel / fusain et crayon sur papier

  


 © Allan Riger-Brown 2012

Histrionic Days

Below: Histrionic Days, 2012, approx. 38 x 28 cm, charcoal and pencil on paper / Días histriónicos, 2012, carboncillo y lápiz sobre papel / Jours histrioniques, 2012, fusain et crayon sur papier

Landscape With Towerblocks

     

Above: Landscape With Towerblocks, 2011, acrylic and oil colour on paper, approx. 60 x 42 cm

Interior With Black Sun

  

Below: Interior With Black Sun, 2012, acrylic on paper, approx. 73 x 53 cm.

Right and below: Two details of évocation d'une possible archéologie industrielle V – Triptyque modulable I, 2009, acrylic on three canvasses (each approx. 40 x 30) with embedded elements

Exhibit 023

Above: Detail of Exhibit 023, 2008, acrylic on canvas, aprox. 100 x 80 cm. See below for a text I wrote about this painting on the occasion of an exhibition in Brussels.

J'ai emprunté indéfiniment cet objet au musée de sciences naturelles d'une petite ville de province située dans un avenir très lointain, où je me suis retrouvé par hasard au cours d'une randonnée en vélo. Tout dans ce musée, y compris le système d'alarme et les notices explicatives fournies pour les différents objets exposés, était assez rudimentaire. D'ailleurs la langue du pays me semblait tout à fait indéchiffrable. Cependant, avant de tourner le dos (et de me laisser ainsi le champ libre), le gardien du musée m'a expliqué, par gestes, qu'il s'agissait du moulage, en matière plastique, d'une pétrification trouvée récemment dans la banlieue de ladite ville. D'après lui, cette empreinte fossile se remontait à une époque qui, si j'ai bien fait mes calculs, correspondrait plus au moins à la toute dernière phase de l'Holocène, juste avant les grandes catastrophes provoquées par homo mercator, c'est à dire, à l'époque actuelle. Il a ajouté, toujours par gestes, que, selon l'avis des experts, depuis ce temps-la il s'était produit, dans les parages, une fracture et un déplacement (légère rotation) de la croûte terrestre, vraisemblablement provoqués par une explosion. Cet effet est particulierment marqué au niveau des traces du pneu de vélo.

Un de mes amis ne croit pas à cette histoire et insiste que de toute évidence il ne s'agit pas d'un moulage fossile mais bel et bien d'une pièce à conviction employée dans le procès d'un voleur de musées (moi-même, dans une réincarnation antérieure ou parallèle?) qui se déplaçait en vélo.

Un autre ami y voit les rivières desséchées et cordillères désertiques de la planète Mars. Quoi qu'il en soit, à l'instar des paysages martiens, le tableau change considérablement d'aspect en fonction de la direction de la lumière incidente et des ombres projetées par les rugosités de la surface.

Solar Wind

Above: Solar Wind, 2008, acrylic on canvas, 80 x 70 cm.

Ondrej

Below: Portrait of Ondrej, 2010, charcoal on paper, approx. 45 x 35 cm

The Implausible Lightness of Being

Below: The Implausible Lightness of Being / L'invraisemblable légèreté de l'être / La inverosímil levedad del ser, 2009, acrylic on canvas with embedded elements, approximately 140 x 100 cm - a subtle critique of Kundera.

Above, right and below: Three details of The Implausible Lightness of Being

Aftermath II

Right: Aftermath II, 2009, acrylic on canvas with embedded elements, aprox. 50 x 40 cm.

Desert Storm

Below: Desert Storm, 2009, acrylic on canvas with embedded elements, approx. 140 x 100 cm

Blue Fuchsias

Above: Blue Fuchsias, 2009, Acryl on canvas with embedded elements, approximately 140 x 100 cm

Annika

Below: Portrait of Annika, 2009, charcoal on paper, approx. 45 x 35 cm

Ingrid

Above: Portrait of Ingrid Pelgrims, 2009, charcoal on paper.

Portrait of an Oriental Woman

Left: Portrait of An Oriental Woman, 2007, charcoal on paper, approx. 40 x 30 cm.

I made this portrait in a studio I used to have in Ixelles, at a time of considerable mental turmoil, when I tended to place my affections on the wrong people and idealise things generally. It is not a particularly good likeness of the lady in question, mainly because the head is slightly too long. I realised this one day when I happened to look down at the drawing from an angle, so that the image was foreshortened and, as it were, compressed vertically. With the resulting smaller, squatter head, the likeness is much closer, as apparent from the photo below, where I have manipulated the image to achieve this effect.








Right: Vertical compression results in a closer likeness.

Portrait of Myriam

Above: Portrait of Myriam  (La ragazza del 93), 2009, charcoal on paper, approx. 60 x 40 cm.

Ascension I

Left: Ascension I, 2007, acrylic on canvas,
approximately 120 x 80 cm.
Photo by Michael Shackleton

See older posts for three other paintings in the same series (Holding Hands by the Sea I, Gale in the Trees and His Great Love). A fifth painting in the series (Holding Hands by the Sea II) has probably been destroyed.

View of the Eiffel Tower VI

Left: View of the Eiffel Tower VI, 2009

View of the Eiffel Tower V

Above: View of the Eiffel Tower V, 2009, photomontage

Holding Hands by the Sea

Below: Holding Hands by the Sea I, 2007, acrylic on canvas, 100 x 80 cm

A slightly macabre, ironico-sentimental painting. It belongs to the same series as His Great Love and Gale in the Trees (cf. earlier posts)... See below for two detailed views. Around the time when I painted this picture, I wrote the following in my diary:

One late-summer evening, we stopped at a place overlooking the sea, where the stone balustrade was covered with lovers' graffiti, some older, some more recent, all fading away unremittingly. Had we been foolish enough to inscribe our own names, they, too, would be fading away. And it strikes me that just as every corner of the world has at some time witnessed birth and at some time witnessed death, so every corner of the world has at some time heard the words of lovers, seen their smiles, their hands clasped and their lips touching. There is in every corner of the world an invisible detritus of bygone smiles, dying echoes of words, dreams unfulfilled. Everywhere around us are phantoms with lips grown cold, hands yearning to hold, clutching at emptiness. And the eyes that once stared long into yours, there by the sea, now stare out into the rain of a winter afternoon.

Right and below: Two details of Holding Hands...

Four Views of the Eiffel Tower

Below: Four Views of the Eiffel Tower, 2008, photomontage

Walk of Fame

Above: Walk of Fame I, 2008, Photomontage

Three Views of Montmartre

Above: View of Montmartre I, 2008, photomontage
Vista de Montmartre I, 2008, fotomontaje
© Allan Riger-Brown



Above: View of Montmartre II, 2008, photomontage
Vista de Montmartre II, 2008, fotomontaje
© Allan Riger-Brown


Above: View of Montmartre III, 2008, photomontage
Vista de Montmartre III, 2008, fotomontaje
© Allan Riger-Brown

His Great Love

Right: His Great Love, 2007
Acrylic on canvas
100 x 80 cm


See below for two details of this study.

Gale in The Trees, 2007,
acrylic on canvas
80 x 120 cm

This study was supposed to be the first in a series on the same subject. The following two documents provide some background information.

From an entry in my diary, dated 13 March 2007:

For the painting provisionally called ‘Gale in the trees’ or ‘Sound/Song of the wind in the trees’:

1) Add some tree trunks where appropriate (varying the curvature), as well as twigs, which should be drawn or ‘dashed in’ very vigorously (albeit variedly) to suggest their tuning-fork vibrancy in the wind.
2) Lay in some light grey impasto, not too thick, in the highlight areas (guy’s shoulders and back, particularly the heart area; her forehead, cheekbones, hands; the tree trunks, twigs and undergrowth; and the sky).

3) NB: The impasto in the upper part of the painting should be particularly thin – so as not to interfere with subsequent ‘crossborder’ washes (blue wind).
4) Lay in the undercoats for his and her hair and clothes.

5) Both the impasti and the undercoats to follow, where appropriate, the ‘complementary-colour principle’, as follows:
- For hear coat (which will be green): broken red.
- For hear hair (which will be red/golden brown): broken dark grey/green.

- For the sky (where the blue wind will be visible): slightly orangy, very light, broken grey.
- For the tree trunks (which will be grey/blue/black/brown): neutral lightish grey.

- For the skin areas (face, hands): same as for the sky. (Try using a cold-hue wash this time).
- For his coat (which will be off-white): same as for tree trunks.
6) Suggest that her eyes are closed. See if you can do something to suggest eyelashes.
7) Put in the swirling washes representing the wind (broken blue – see Point 8 below). Put them in vigorously, without too many swirls (Remember: it’s a strong wind!), one at the time, using a sufficient amount of retarder, so as to be able to remove the wash where the trees and tree-branches overlap it. Vary the thickness and intensity of the washes so as to suggest perspective, starting from the background.

8) NB: The blue of the wind should be the same as the blue in his temples/hair/heart area (suggestion of radiance). She may have a smaller, darker (shrivelled?) heart.

9) Lay in washes and any additional details in the middle ground as appropriate.
10) Finish the painting with various washes (skin, clothes, etc.).
11) NB: Vary amount of elaboration across surface. Keep Chinese/Japanese painting in mind. Keep linear composition and mass-distribution in mind. Keep close to the material properties of the medium; follow its own penchants.
12) Try to find a better title.

Right: Gale in the Trees at an early stage of elaboration.


From a message to a friend, dated 18 March 2007:

Vendredi j’ai fini le tableau dont je t’avais envoyé une photo… Il est maintenant plus coloré (du vert dans les cheveux de la fille, du rouge dans son manteau, du jaune et du brun par-ci par-là dans les arbres et le ciel…) mais quand même encore assez macabre ! ... J’avais l'intention del’élaborer davantage (surtout rendre les mains et le visage de la fille plus beaux, moins cauchemardesques) mais quelqu'un m’a dit d’arrêter…que je risquais de perdre l’énergie de départ, de tout gâcher – et je me suis laissé convaincre. Je n’ai même pas ajouté les bandes diagonales d’outremer qui devaient représenter le vent…Je le regrette un peu, parce que je ne suis pas du tout convaincu que ce conseil était valable (il ne faut pas trop écouter les autres en tout cas…)…. Je me propose de faire une autre version, moins sombre, du même tableau…cette fois sans m'écarter du plan de départ.

Vision of Hell 573

Right: Detail of Vision of Hell 573, oil on newspaper photo, 1994.

Recent paintings

Right: Evocation d'une possible
archéologie industrielle 2, acrylic on canvas, 2008, approx. 100 x 80 cm

Drawings

Left: Study of a sleeper. Pencil, ink and pastel, 2008.

My studio in Brussels

Left: View of my studio in Brussels. Photo (2008) by Sebastian Riger-Brown

Two less recent paintings

Below: Lovetalk, acrylic on canvas, 2007

Left: Drapeau pirate, acrylic on canvas, 2007.


See below for  a text I wrote about this painting on the occasion of an exhibition held in Brussels.



J'ai donné son titre à ce tableau après coup, c'est à dire, après avoir essayé sans succès d'y voir autre chose qu'un drapeau pirate et après maintes tentatives infructueuses de modifier l'image pour détruire ce pouvoir d'évocation. Finalement j'ai dû me rendre à l'évidence: ce tableau était, et est toujours à mes yeux, un drapeau pirate. Il ne reste qu'à l'arracher du châssis et trouver (ou acheter) le bateau qui va avec. Personnellement je préfère un deux-mâts de 30 à 40 pieds gréé en jonque, muni d'un lance-torpilles camouflé …

Older drawings

Left: Portrait of Agueda Sierra, pencil and ink on paper, 1980

Below: Six studies of fallen angels,
coloured pencils and ink on paper, 1993