Mathias Prenen

Mathias Prenen (°1990, Geel)
Woont & werkt in Brussel (BE)
Medium: sculpturen, installaties

Works
#FENCE#BALUSTER#JackieChan (2018) | 165 x 200 x 60 cm | wood - metal - red alkyd lacquer
#FENCE#BALUSTER#JackieChan
Fence Baluster Sei Shonagon (2016) | 250 x 70 x 400 cm | primed wood - cushons in Obi fabric
Fence Baluster Sei Shonagon
Adolf and Mark are playing, looking for pretty shapes (2018) | edition of 4| 19 x 5 ø cm | bronze
Adolf and Mark are playing, looking for pretty shapes
#ZOME#Nobori (2015 - 2018) | 350 x 50 cm | silk - cotton - indigo dye - aluminum
#ZOME#Nobori
#BALUSTER#GrinlingGibbons (2014) | 250 x 50 ø cm | reinforced concrete - steel
#BALUSTER#GrinlingGibbons
#BALUSTER#JackieChan (2016) | 185 x 70 cm | oak - antique furniture - red alkyd lacquer
#BALUSTER#JackieChan
BALUSTER#BOZZETTO(wood ITA-JIME SHIBORI) (2013) | 37 x 5,5 ø cm | wood ITA-JIME SHIBORI
BALUSTER#BOZZETTO(wood ITA-JIME SHIBORI)
Untitled (embroided architecture, Brazil, blue) (2018) | 22 x 25 cm | embroided textile with frame in Ipé
Untitled (embroided architecture, Brazil, blue)
Gallery exhibitions
Chinamen of Oklahoma
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Art fairs
Art Rotterdam 2019
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External exhibitions
Ballroom Project #1
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Poppositions off-art fair 2019
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Free-Frame, a Vanitas of Light & Soon
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DE//GENERATIE
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Biography

Mathias Prenen °1990 behaalde een master opleiding in de beeldende kunsten aan het KASK & Conservatorium School of Art Gent en volgde cursussen Urushi (Japanse lak) & Kaga Yuzen (textieltechnieken) aan de ambachtsafdeling van de Kanazawa College of Art, Japan.
Deze combinatie vormt de basis van de “inheemse” ervaringen die zijn praktijk voedt.

Zijn werken zijn vaak dislocaties zoals verschuivingen in materialiteit, herinterpretaties van architecturale elementen en organische vormen van fauna en flora tot interculturele mash-ups van symbolen die als allegorieën fungeren. Zijn grotendeels sculpturale praktijk rijkt van grote architecturale installaties tot kleinere objecten. Prenen is geïnteresseerd in verschillende technieken van vormgeving. Traditionele technieken zoals beitelen, modelleren en gieten worden afgewisseld met moderne werktuigen als de kettingzaag of roofingbrander. Zijn multimediale praktijk staat hem toe de antropologische betekenis van materiaal en vorm te ontvouwen tot werk dat zich tegoed doet aan de verbeelding en het plastische oog fixeert.

Text

Mathias Prenen’s sculptures are situated between abstraction and representation. Cushions shaped like architectural ornaments and table legs that behave like sex toys are just two examples of how he questions our understanding of form. The totem-like objects in the #BALUSTER# series, such as #BALUSTER#SeiShonagon and #BALUSTER#CarmenMiranda, serve as allegorical markers within the artist’s aesthetic universe. To create these works, Prenen combined the shape of a 15th-century baluster ornament from the Western architectural tradition, which here serves as an archetype, with images of writers and entertainers from different continents and historical periods. The titles are derived from the ensuing cultural mash-ups – Carmen Miranda being a famous Brazilian samba dancer from the 1950s and Sei Shōnagon being a pre-eminent female writer of the 11th-century Heian period in Japan. Through these works, Prenen considers the way in which the cultural essence of the artists is diminished by mass media, the burden of modernism and the society of the spectacle.

The more architectural installations, such as the modular #KOCHU series, reference the temporary structures that are used to present, display or house culture, for example art fair booths, gallery walls and pedestals. The Japanese word kochu, which dates back to the Edo period, describes the way in which the mind is directed towards the universe during a traditional tea ceremony. The series of modules can house anything and therefore function as carriers of emptiness. Prenen strives to heighten people’s experiences by creating spaces that encourage mental openness.

Prenen is fascinated by materials and their historic and socio-cultural significance. The #YU series in Urushi lacquer paint was the result of an extensive period of research into the material properties, traditional applications and cultural value of the medium. By combining the Urushi resin with a number of less orthodox materials, the artist is able to show it in a new light. Prenen situates the unexpected qualities of the medium within a broader cultural history and, in so doing, creates an intercultural story suspended in time.

Mathias Prenen links avant-garde artistic concepts and Surrealism with the notion of dislocation in his works. He shows how every form is a kind of artificiality but, equally, that this condition can be overcome

Groot Park 2
3360 Lovenjoel
Openingsuren
Vrij-Zat-Zon 14-18 u