Fall 2005 

TORCH Gallery is pleased to present Fall 2005, an exhibition of new paintings by Hans Broek.

What do books, youth and beauty have in common with murderers? And why do Hans Broek’s paintings simultaneously fascinate and unsettle so much? These are but a few of the many questions raised by Hans Broek’s new series of paintings to be seen at TORCH Gallery from the 9th of April. Fall 2005 displays interiors, cars, cityscapes and other modern imageries recurrent in Hans Broek’s oeuvre. Taken out of their original medium, framed and cast by Broek, they become the critical symbols of our consumer’s society and the will to power they have come to serve. Broek’s very personal assessment of the logics of color, line and shape constitutes a new visual vocabulary to a critical assessment of modernity. Whereas traditionally the figure creates a space on its own –its flesh is full and tangible- in Hans Broek’s paintings it is the blackness of the backgrounds that shape the figures. And as the subjects seem to ecstatically surrender, the transparency of their body flickers in powerful contrast. Wrapped in black and loose of any determined temporality, Hans Broek’s beautiful young women become the pattern of an abstract composition. Unbound from the context of any particular setting, they become symbols. They unveil the will to power, beauty and youth can serve in our contemporary societies. With his cityscapes, Hans Broek again plays with contradictory visual terms. The craft and great detail dedicated to certain elements, the powerful contrast between black areas, spectral buildings and a multitude of little lights free Hans Broek’s cityscapes from any determined place or time. The porous structure of the city -as lighted from inside- constitutes an abstract image of controlled chaos and corporate power.  
To complete this fragmented portrait of people’s strategies to control one another, the figure of the murderer is paradigm. Not particularly individualized, the murderer is only to be recognized by the blood dripping from the iron bar he holds.  As the act of murder stands for the most absolute and horrendous way of controlling the other, it dramatizes the moment of action, of decision. Maybe this is Broek’s most precious gift, his will for us –spectators- always to live choosing, at each moment.

> CLOSE Window

Comments are closed.

Camera Littera on