Working with casts made of wax, animal skins, hair, textiles, metal and wood, Berlinde De Bruyckere renders haunting distortions of organic forms. The vulnerability and fragility of man, the suffering body - both human and animal - and the overwhelming power of nature are some of the core motifs of De Bruyckere's oeuvre.Read More
Born in Ghent, Belgium in 1964, where she currently lives and works, De Bruyckere is profoundly influenced by traditions of the Flemish Renaissance. Drawing from the legacies of the European Old Masters and Christian iconography, as well as mythology and cultural lore, De Bruyckere layers existing histories with new narratives suggested by current events to create a psychological terrain of pathos, tenderness, and unease. The dualities of love and suffering, danger and protection, life and death and the human need for understanding are the universal themes De Bruyckere has been dealing with since the beginning of her career.
'I want to show how helpless a body can be,' De Bruyckere has said. 'Which is nothing you have to be afraid of–it can be something beautiful.'
Text courtesy Hauser & Wirth.
Having made her name in the 1990s with quietly compelling pseudo-anatomical sculptures of flesh, Belgian artist Berlinde De Bruyckere has subsequently adopted a less explicit approach in her work.
Since opening in 2011, the Museum of Old and New Art (Mona) in Hobart, Australia, has put man’s biological impulses and realities at the heart of its curatorial mission. Mona’s founder David Walsh dec
MARRAKESH — Set outside the institutional white cube, in restored ancient sites and the ruins of a 16th-century palace, the sixth edition of the Marrakech Biennale, Not New Now, arrives like a breath of fresh air. Curated by Guggenheim Abu Dhabi Associate Curator Reem Fadda, the current edition of the Moroccan biennale creates a marvelous...
Inside her Ghent studio, Berlinde De Bruyckere discusses death, drapery and intimacy in her work ahead of her solo exhibition Stages & Tales at Hauser & Wirth Somerset. ‘In our society, we are alwa