I already wrote about the gallery, now I'm broadening my horizons.

I have exhibited in many different galleries in different countries. The most exotic gallery must have been 'L'HOMME QUI RIT' in Brussels, Belgium. In Belgium, surrealism was great. They have a penchant for the strange and mysterious. Just think of Magritte, Ensor, Delvaux and Frits van den Berghe.

Looking for more Belgian surrealist artists (four are not many) I found Jane Graverol. What a discovery! Unfortunately, even now, women are still forgotten…

Speaking of the birds... I wrote a text about the different birds of paradise that populated the gallery:

... There was the publisher of art books. (Unfortunately no picture). He was always extremely courteous to the womenfolk. Especially to the Count's mother (the owner of the gallery). After all, she had the money. His appearance seemed to be permanently in the ascenders. Blue blazered, perfumed and with rouge on his cheeks, he was an exclamation point on any opening. His teeth were a chaotic collection, each doing its best to conquer the right place on the jaw. On his head he wore an unsteady Warhol wig…

But there were so many more. If you want to read the entire text, click on the image below.

I was introduced to the gallery owner by Nat Neujean, a Belgian sculptor. A monument of a man from whom I learned a lot. Far from being a surrealist, he was a man with both feet on the ground, better yet, on a rock. I met him in Florence, but that's another story (if I ever win the lottery, I want to buy this statue of him). To go to my tribute to Nat, click on the image below.

I can't remember how many exhibits I had in the gallery before it closed. It was always a hassle to get paid, even when I sold a lot. It added to the surreal atmosphere, the smell of Brussels.

The fact that the gallery closed was because Louis, the owner, also painted. He left for Morocco, concentrated on painting and sadly passed away not so long ago (2024). Way too young. Here is an image of one of his works and of him.

Some of the works I exhibited in 'L'HOMME QUI RIT':

all three works on paper: 'THE SPHINX', 'THE BIG SHOW' and 'ROMEO AND JULIET'.

all three oil on canvas: 'HAND AND SPHERE', 'PARROT TULIPS' and 'FLOATING MALE NUDE'.

Although several had a somewhat surrealist taste, the painting that undoubtedly best suited the gallery is 'THE TUB OF FOOLS'. For a close second, 'THE FAMILY AQUARIUM' qualifies.

oil on canvas: 'THE TUB OF FOOLS'.

oil on canvas: 'THE FAMILY AQUARIUM'.

That was then. Over the years, the most important thing for me was to focus on how to paint and not so much on what. The mystery had to lie more in how the image came about (including the tension between realism and abstraction) and not in what the symbolic message might be (am I not lying a bit here?).

Lately, I've been looking more for stories to tell. Stories from the subconscious or outside of logic. Surreal stories?

In my sketchbooks I have let my imagination run wild for years. Anything goes, the weirder the better. Sometimes the subject is what typifies the sketch and not the how.

I admit: there have been sketches that turned into a painting. Two examples: 'HAND IMITATES MOUTH' (sketch with the same name) and yes, 'THE FAMILY AQUARIUM' (sketch is called 'NOISE IN THE FAMILY AQUARIUM') sold in Brussels.

So in my sketch pads I whirl everywhere, all doors can be opened. Surreal, funny, crazy, you name it. Often I don't pay attention to how the sketch is created. That only distracts me while I have to chase the twist of my mind.

I fear that some of my sketches can never become a full-fledged painting. Many lack the weight to be turned into a solid work. They are sometimes too literary regurgitations or too insignificant leaps of thought.

THE TOILET MAN, A CLOSET CIRCUIT - A CROCODILE WITH KISSING LIPS - THINK OF SOUL LEAVING THE BODY, 'I DO'.

'I'VE PULLED MY BUTTOCKS ON MY BACK, PLEASE GO AHEAD' - THE SPEED LIMIT BOX, 'I WANT TO GO FASTER!' - THE PREACHER JEANS - 'I PUT THE HORSES ON THE HILL, JIM.'

There is the chapter on the site where those sketches can be seen. Click on the last set of sketches to go to that chapter. For me, it's all about amazement.

That's why I'm not interested in artists like Banksy. First of all, his work has nothing to do with painting. There is a total lack of playfulness; it is total dullness. And besides, everything is so moralistic, so preachy. It's commentary, not amazement.

These days this is the fashion; you have to be politically correct. I am averse to all new prudishness. I want playfulness, even if it can be frightening or politically incorrect (paintings don't kill). In that sense, you could say that I am trying to be the reverse version of Caravaggio.

I want my paintings to be paintings and not cheap illustrations of a moralistic 'funny' or crazy idea. I am amazed by the world and want testify about it more than that I want to direct it with my sermons.

I made this sketch years ago. I hadn't heard of Jane Graverol yet. Has the bird flown? Or has the woman flown?

THE WOMAN FORGOT HER VAGINA ON THE CHAIR... (made in 1993?)

The crazy years seem far away now. Maybe it's because I'm not so fascinated by the real crazy life anymore. I've had my share. And maybe times have changed.

Have I become a hermit or a voyeur? I am now more surprised by the great mystery; that which cannot be reasoned with. That which is on the other side of our lives.

For the crazy life on earth, the parties, click on the image below.