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JEAN PHILLIPE DUBOSQ
Jean-Philippe Duboscq is a French-Belgian artist who chose to live in Brussels and set up his studio.
At the age of 16, he entered La Cambre to study painting and visual arts. He also developed a passion for music and became a composer, which enabled him to work in collaboration with Peter Dowsbrough, Bram Bogart and other artists.
For many years, the artist has been making conceptual works: the search for an aesthetic through an idea rather than through a desire for control. The work appears to the artist in permanent mobility, putting into perspective what the artist paints, what seeps in or overflows. He becomes a spectator and discovers his work without controlling it.
"The fold is an infinite mystery, it is a container, a baroque magic that does not bear to be brought to light.”
His current work is linked to the concepts of instability, chance and the unexpected: he reveals what he cannot control or what escapes him. He proceeds by destroying, tearing or ripping. Through successive layers, he coats the canvases with paint whose bright pigments have been scrupulously chosen.
The folds are thought out, folded and articulated differently depending on the material of the canvas used.
The often modular nature of his work is open to interpretation. His works can be multiplied, amputated or, on the contrary, added together, thus unfolding into installations in which the artist intervenes as a "performer".
Jonathan Adolphe is a contemporary American painter whose translucent works seek to evoke
the sacred, the fragility of emotions, and human ephemerality. His materials consist of urethane, fiberglass, smoke, powdered pigment, and spray paint. In 2022, Adolphe’s works appeared in Art Up! Fair in Lille, France, and he has a forthcoming group show in Brussels.
Adolphe had his first solo show in 1990 with American Fine Art,
curated by Colin DeLand, with subsequent solo shows in New York City, Zurich, Tokyo, and
Istanbul. In 2018, he collaborated with choreographer Coco Karol and composer Sxip Shirley to create “Frog and Scorpion,” which featured a group of large glow in the dark diptychs.
Adolphe’s early works were a hybrid of painting and sculpture, employing materials such as
wax, chalkboards, sand, and navy signal flags.
Today, Adolphe’s paintings have an interior and an exterior. The image is preserved beneath the surface. A thin translucent membrane separates the fragile interior from the coarse skin shielding it. The scarred, pockmarked urethane skin acts as a protective barrier from the outside world. The works are a casting of the fragility of life, the fragility of feelings.
Adolphe wishes the paintings to be an evocation of the sacred. Light and transparency are his tools. Adolphe draws with smoke and the pouring of urethane. A kind of abstract writing appears. The necessity of expressing these inchoate feelings leads him to invoking natural phenomena with translucent qualities: light, fog, steam, mist, clouds, water, sweat and ice. Like an undiscovered creature embedded in ice, the paintings offer a reveal. The practice is a form of writing without writing and painting without painting.