INTRODUCTORY GUIDE TO THE ESSENTIALIST PAINTING OF MARC DE FLEYT

 

FOR TO WHOM THE INTERACTIVE ESSENTIALIST PAINTING OF MARC DE FLEYT IS NEW.

 

CORE ART PAINTING OF MARC DE FLEYT ARE FIGURATIVE AND HYPER STYLISTIC. IF A SENSE OF  GEOMETRICS APPEARS HOWEVER THESE ARE WHAT THE ARTIST CALLS IMPERFECT ORGANIC GEOMETRICS. THE ESSENTIALIST ART OF MARC DE FLEYT CONTAINS A HUGE SENSE OF STORY AND PSYCHOLOGIC APPROACH AND AT TIMES A TOUCH OF HUMOUR. BASICALLY:  THE PICTURE IS REDUCED TO ITS BARE ELEMENTS. ALL UNNECCESSARY VISUAL LUGGAGE HAS BEEN THROWN OVERBOARD.  WHEN WE TAKE A CLOSER LOOK AT THE EARLY CORE ART WE DO SEE THAT THEN HE WAS TRYING TO BRING IN THE STORY USING SEVERAL WAYS TO DEPICT THE POWER FIELDS AND RELATIONSHIPS BETWEEN THE ELEMENTS.

 

IF WELL-KNOW ARTISTS HAVE TO BE MENTIONED AND AFTER SOME RESEARCH ONE CAN PUT THAT FINDINGS BASIC THOUGHT AND INNOVATIONS COULD BE BUILD ON THE WORKS OF BART VAN DER LECK AND PIET MONDRIAAN. NEVERTHELESS THEY NEVER ACTUALLY HAVE INSPIRED OR INFLUENCED HIM THOUGHOUT HIS EVOLUTION. SIMPLY BECAUSE HE WAS NOT AWARE OF THEM IN SUCH A WAY. BOTH ARTISTS STARTED BASICALLY WITH THE SAME IDEA BUT THEN COMPLETED THEIR ART IN A DIFFERENT MANNER. MARC DE FLEYT FEELS HIMSELF MORE INSPIRED AND INFLUENCED BY ARTISTS SUCH AS MICHEL SEUPHOR, EDVARD HOPPER, RENE MAGRITTE, VICTOR SERVRANCKX AND JEAN-MICHEL FOLON OR EVEN BREUGHEL.

 

WE ARE WRITING 1992. HE STARTS WITH HIS VERY OWN GENERAL VISION ON THINGS AND DOES NOT DEVELOP HIS STYLE BASED ON EXISTING WORKS OF OTHERS. HE MERELY WAS AFTER A WAY OF EXPRESSION THAT OFFERED HIM CONTINIOUSLY BIG CHALLENGES. THAT ANALYTIC VIEW ON THINGS PLAYED A BIG ROLE. AFTER YEARS OF SEARCHING ON A WORKING DAY IN THE SCREEN PRINTING FACTORY HE SAW THE LIGHT. THIS EXPERIENCE WOULD CHANGE HIS LIFE FOREVER. HE RECALLS AFTER THAT BEING IN AN EUPHORIC STATE FOR THREE DAYS. THAT WAS WHEN HE REALISED THAT JUST ONE SMALL ELEMENT OF A PICTURE CAN REVEAL THE WHOLE PICTURE EVEN STRONGER TRIGGER FANTASY IF IT ONLT IS PLACES ON THE RIGHT PLACE IN THE COMPOSITION. SOON AFTER HE WENT IN SEARCH OF TOOLS AND DEVELOPED A VISUAL LANGUAGE WHERE SYMBOLS WHERE USED SUCH AS PINK LIPSTICK TO DEFINE FEMALE PRESENCE. ALSO IN THE VERY BEGINNING MODERN MATHEMATICS WERE A HELP TO EXTRACT SENSE.

 

THE HUMAN AND HUMAN BEHAVIOR AND NATURE ARE SO OFTEN CENTRAL IN HIS ART.  THE HUMAN BEING IS SO OFTEN DEPICTED AS A POST WITH ROUNDED EDGES AT THE TOP.  NOW IT COULD A MAN OR A WOMAN. IT WAS NO LONGER A POINT. OLD OR YOUNG. SKINNY OR NOT. WHAT MATTERED WAS THE STORY. ALTHOUGH ALWAYS HAIRLESS IN 2026 HAIRDO CREATIVELY WAS INTRODUCED. HE PAINTS SITUATIONS OF EVERY DAY LIFE ONE CAN RECOGNIZE. THEREFOR HE IS USING UNIVERSAL TOOLS TO TELL A STORY. THE RESULTS ARE NEET AND CLEAR PICTURES WITH A CERTAIN CALMNESS TO IT, PARTLY BASED ON TECHNIQUES USED IN PHOTOGRAPHY WHERE FILTERING AWAY UNNECCESSARY ELEMENTS IS THE KEY TO A DIRECT PICTURE. HE ALSO AVOIDS AGGRESSION OR FEARSOME PICTURES OR SIGNS OF GRIEF. IT IS A SORT OF UNWRITTEN AGREEMENT THAT THIS KIND OF ART IS NOT PART OF CENTER, EXPECTATIVE, OPTION OR LATE CORE. THERE IS MORE SPACE FOR THIS IN THE SEGMENT OF SLOPY CORE.

 

TYPICAL FOR HIS WORKS ARE THAT BESIDES A VERY SPECIFIC CHOICE OF SUBJECT MATTER THERE IS A WIDER FIELD OF PERSONAL INTERPRETATION TO EACH VIEWER. THIS INTERPRETATION CAN VARY DEPENDING OF THE FEELINGS OF THE MOMENT OR NEW EXPERIENCES IN LIFE. THIS MAKES HIS PAINTINGS INTERACTIVE. THE WORKS OF ART ARE NOT TOTALLY OF HIS OWN AND FOR AN IMPORTANT PART LIES ITS COMPLETION WITHIN THE VIEWER. DEFINITELY HERE HE REALLY IS AVANT-GARDIST.

 

TALKING ESSENTIALIST PAINTING OR ART HE SEES HIMSELF NOT AS A TEMPORARY ARTIST BUT AN ARTIST OF THE FUTURE. IT  IS HIS BIG CHALLENGE TO INTRODUCE THE PSYCHOLOGICS OF THE MODERN HUMAN BEING INTO ART AND VISUAL ARTS IN GENERAL.

 

TO SUMMARIZE CURRENT EVENTS WE CAN STATE THAT WITHIN ESSENTIALIST PAINTING OR CORE ART HE IS CREATING WORKS WITHIN THE SUB-MOVEMENTS OF CENTER CORE (LESS ELEMENTS MORE SOLE SITUATIONS OR ISOLATED OBJECTS AND PRACTICAL CHOICE OF COLOURS), EXPECTATIVE CORE (WITH LITERARY GREY AREAS FOR THE VIEW TO FILL IN), SLOPPY CORE (MIXED MEDIA AND MORE EXPRESSIVE, A WIDER RANGE OF EMOTIONS), LATE CORE (MORE ELEMENTS, EMOTIONAL USE OF COLOURS, MORE ELEMENTS AND SENSE OF DESIGN, INTRODUCTION OF LINES) AND OPTION CORE (CONNECTIONS BETWEEN ELEMENTS WITHIN ONE PICTURE FOR THE VIEWER TO DISCOVER AND EVALUATE).

 

PLEASE SEE ALSO ARTMAJEUR FOR SAMPLE OF HIS ART.