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PHOTOGRAPHY

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SELECTED AWARDS

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Proof\r 20 x 24 inches \r ID npbil2 \r ©Pascal Demeester\r\r","overrides":{},"featuredImage":"","dateAdded":"2014-01-21 17:20:41","filters":["BILBOARD USA"],"oldContent":"Bilboard2_Pascal Demeester_1998-99.jpg","oldThumb":"Bilboard2_Pascal Demeester_1998-99.jpg"},"10442":{"id":10442,"size":{"content":{"width":1123,"height":1140},"thumb":{"width":1123,"height":1140},"featuredImage":{"width":false,"height":false},"bytes":204062},"label":"Bilboard3_Pascal Demeester_1998-99.jpg","type":"image","content":"Bilboard3_PascalDemeester_1998-99.jpg","thumb":"Bilboard3_PascalDemeester_1998-99.jpg","linkTarget":"","caption":"Bilboard 3, Los Angeles, 1998\r Fiber Based Gelatin Silver Print\rEdition 15 Prints and 1 Artist Proof\r 20 x 24 inches \r ID npbil3 \r ©Pascal Demeester\r\r","overrides":{},"featuredImage":"","dateAdded":"2014-01-21 17:20:42","filters":["BILBOARD USA"],"oldContent":"Bilboard3_Pascal Demeester_1998-99.jpg","oldThumb":"Bilboard3_Pascal 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Print\rEdition 15 Prints and 1 Artist Proof\r 20 x 24 inches \r ID npbil5 \r ©Pascal Demeester\r\r","overrides":{},"featuredImage":"","dateAdded":"2014-01-21 17:20:43","filters":["BILBOARD USA"],"oldContent":"Bilboard5_Pascal Demeester_1998-99.jpg","oldThumb":"Bilboard5_Pascal Demeester_1998-99.jpg"},"10445":{"id":10445,"size":{"content":{"width":1140,"height":1140},"thumb":{"width":1140,"height":1140},"featuredImage":{"width":false,"height":false},"bytes":381602},"label":"Bilboard6_Pascal Demeester_1998-99.jpg","type":"image","content":"Bilboard6_PascalDemeester_1998-99.jpg","thumb":"Bilboard6_PascalDemeester_1998-99.jpg","linkTarget":"","caption":"Bilboard 6, New-York, 1998\r Fiber Based Gelatin Silver Print\rEdition 15 Prints and 1 Artist Proof\r 20 x 24 inches \r ID npbil6\r ©Pascal Demeester\r\r","overrides":{},"featuredImage":"","dateAdded":"2014-01-21 17:20:44","filters":["BILBOARD USA"],"oldContent":"Bilboard6_Pascal Demeester_1998-99.jpg","oldThumb":"Bilboard6_Pascal 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Demeester\r\r","overrides":{},"featuredImage":"","dateAdded":"2014-01-21 17:20:46","filters":["BILBOARD USA"],"oldContent":"Bilboard9_Pascal Demeester_1998-99.jpg","oldThumb":"Bilboard9_Pascal Demeester_1998-99.jpg"},"10449":{"id":10449,"size":{"content":{"width":1140,"height":1140},"thumb":{"width":1140,"height":1140},"featuredImage":{"width":false,"height":false},"bytes":447122},"label":"Bilboard10_Pascal Demeester_1998-99.jpg","type":"image","content":"Bilboard10_PascalDemeester_1998-99.jpg","thumb":"Bilboard10_PascalDemeester_1998-99.jpg","linkTarget":"","caption":"Bilboard 10, New-York, 1998\r Fiber Based Gelatin Silver Print\rEdition 15 Prints and 1 Artist Proof\r 20 x 24 inches \r ID npbil10\r ©Pascal Demeester","overrides":{},"featuredImage":"","dateAdded":"2014-01-21 17:20:47","filters":["BILBOARD USA"],"oldContent":"Bilboard10_Pascal Demeester_1998-99.jpg","oldThumb":"Bilboard10_Pascal 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Demeester\r\r\r\r\r","overrides":{},"featuredImage":"","dateAdded":"2014-01-22T01:15:09.000Z","filters":[],"oldContent":"Deluge-Bodies2_Pascal-Demeester_1985.jpg","oldThumb":"Deluge-Bodies2_Pascal-Demeester_1985.jpg","postDate":"2023-03-14T14:50:19.859Z"},"10503":{"id":10503,"size":{"content":{"width":1121,"height":1140},"thumb":{"width":1121,"height":1140},"featuredImage":{"width":false,"height":false},"bytes":433928},"label":"Deluge-Bodies3_Pascal-Demeester_1985.jpg","type":"image","content":"Deluge-Bodies3_Pascal-Demeester_1985.jpg","thumb":"Deluge-Bodies3_Pascal-Demeester_1985.jpg","linkTarget":"","caption":" \r \r Deluge’s Bodies 3, Belgium, 1985\r Fiber Based Gelatin Silver Print\r Edition consist of 10 Prints and 1 Artist Proof \r 50 x 60 Inches \r Edition 15 Prints and 2 Artist Proof\r 20 x 24 inches \r ID npdel3\r ©Pascal Demeester\r\r\r\r","overrides":{},"featuredImage":"","dateAdded":"2014-01-22T01:15:10.000Z","filters":[],"oldContent":"Deluge-Bodies3_Pascal-Demeester_1985.jpg","oldThumb":"Deluge-Bodies3_Pascal-Demeester_1985.jpg","postDate":"2023-03-14T14:50:19.859Z"},"10504":{"id":10504,"size":{"content":{"width":1209,"height":1140},"thumb":{"width":1209,"height":1140},"featuredImage":{"width":false,"height":false},"bytes":459197},"label":"Deluge-Bodies4_Pascal-Demeester_1985.jpg","type":"image","content":"Deluge-Bodies4_Pascal-Demeester_1985.jpg","thumb":"Deluge-Bodies4_Pascal-Demeester_1985.jpg","linkTarget":"","caption":" \r \r Deluge’s Bodies 4, Belgium, 1985\r Fiber Based Gelatin Silver Print\r Edition consist of 10 Prints and 1 Artist Proof \r 50 x 60 Inches \r Edition 15 Prints and 2 Artist Proof\r 20 x 24 inches \r ID npdel4\r ©Pascal Demeester\r\r\r\r\r","overrides":{},"featuredImage":"","dateAdded":"2014-01-22T01:15:11.000Z","filters":[],"oldContent":"Deluge-Bodies4_Pascal-Demeester_1985.jpg","oldThumb":"Deluge-Bodies4_Pascal-Demeester_1985.jpg","postDate":"2023-03-14T14:50:19.859Z"},"10505":{"id":10505,"size":{"content":{"width":1131,"height":1140},"thumb":{"width":1131,"height":1140},"featuredImage":{"width":false,"height":false},"bytes":461855},"label":"Deluge-Bodies5_Pascal-Demeester_1985.jpg","type":"image","content":"Deluge-Bodies5_Pascal-Demeester_1985.jpg","thumb":"Deluge-Bodies5_Pascal-Demeester_1985.jpg","linkTarget":"","caption":" \r \r Deluge’s Bodies 5, Belgium, 1985\r Fiber Based Gelatin Silver Print\r Edition consist of 10 Prints and 1 Artist Proof \r 50 x 60 Inches \r Edition 15 Prints and 2 Artist Proof\r 20 x 24 inches \r ID npdel5\r ©Pascal Demeester\r\r\r\r","overrides":{},"featuredImage":"","dateAdded":"2014-01-22T01:15:12.000Z","filters":[],"oldContent":"Deluge-Bodies5_Pascal-Demeester_1985.jpg","oldThumb":"Deluge-Bodies5_Pascal-Demeester_1985.jpg","postDate":"2023-03-14T14:50:19.859Z"},"10506":{"id":10506,"size":{"content":{"width":1128,"height":1140},"thumb":{"width":1128,"height":1140},"featuredImage":{"width":false,"height":false},"bytes":445377},"label":"Deluge-Bodies6_Pascal-Demeester_1985.jpg","type":"image","content":"Deluge-Bodies6_Pascal-Demeester_1985.jpg","thumb":"Deluge-Bodies6_Pascal-Demeester_1985.jpg","linkTarget":"","caption":" \r \r Deluge’s Bodies 6, Belgium, 1985\r Fiber Based Gelatin Silver Print\r Edition consist of 10 Prints and 1 Artist Proof \r 50 x 60 Inches \r Edition 15 Prints and 2 Artist Proof\r 20 x 24 inches \r ID npdel6\r ©Pascal Demeester\r\r\r\r\r","overrides":{},"featuredImage":"","dateAdded":"2014-01-22T01:15:13.000Z","filters":[],"oldContent":"Deluge-Bodies6_Pascal-Demeester_1985.jpg","oldThumb":"Deluge-Bodies6_Pascal-Demeester_1985.jpg","postDate":"2023-03-14T14:50:19.859Z"},"10507":{"id":10507,"size":{"content":{"width":1152,"height":1140},"thumb":{"width":1152,"height":1140},"featuredImage":{"width":false,"height":false},"bytes":426692},"label":"Deluge-Bodies7_Pascal-Demeester_1985.jpg","type":"image","content":"Deluge-Bodies7_Pascal-Demeester_1985.jpg","thumb":"Deluge-Bodies7_Pascal-Demeester_1985.jpg","linkTarget":"","caption":" \r \r Deluge’s Bodies 7, Belgium, 1985\r Fiber Based Gelatin Silver Print\r Edition consist of 10 Prints and 1 Artist Proof \r 50 x 60 Inches \r Edition 15 Prints and 2 Artist Proof\r 20 x 24 inches \r ID npdel7\r ©Pascal Demeester\r\r\r\r\r","overrides":{},"featuredImage":"","dateAdded":"2014-01-22T01:15:14.000Z","filters":[],"oldContent":"Deluge-Bodies7_Pascal-Demeester_1985.jpg","oldThumb":"Deluge-Bodies7_Pascal-Demeester_1985.jpg","postDate":"2023-03-14T14:50:19.859Z"},"10508":{"id":10508,"size":{"content":{"width":1140,"height":1140},"thumb":{"width":1140,"height":1140},"featuredImage":{"width":false,"height":false},"bytes":530991},"label":"Deluge-Bodies8_Pascal-Demeester_1985.jpg","type":"image","content":"Deluge-Bodies8_Pascal-Demeester_1985.jpg","thumb":"Deluge-Bodies8_Pascal-Demeester_1985.jpg","linkTarget":"","caption":" \r \r Deluge’s Bodies 8, Belgium, 1985\r Fiber Based Gelatin Silver Print\r Edition consist of 10 Prints and 1 Artist Proof \r 50 x 60 Inches \r Edition 15 Prints and 2 Artist Proof\r 20 x 24 inches \r ID npdel8\r ©Pascal Demeester\r\r\r\r","overrides":{},"featuredImage":"","dateAdded":"2014-01-22T01:15:16.000Z","filters":[],"oldContent":"Deluge-Bodies8_Pascal-Demeester_1985.jpg","oldThumb":"Deluge-Bodies8_Pascal-Demeester_1985.jpg","postDate":"2023-03-14T14:50:19.859Z"},"10509":{"id":10509,"size":{"content":{"width":1140,"height":1140},"thumb":{"width":1140,"height":1140},"featuredImage":{"width":false,"height":false},"bytes":517495},"label":"Deluge-Bodies9_Pascal-Demeester_1984.jpg","type":"image","content":"Deluge-Bodies9_Pascal-Demeester_1984.jpg","thumb":"Deluge-Bodies9_Pascal-Demeester_1984.jpg","linkTarget":"","caption":" \r \r Deluge’s Bodies 9, Belgium, 1985\r Fiber Based Gelatin Silver Print\r Edition consist of 10 Prints and 1 Artist Proof \r 50 x 60 Inches \r Edition 15 Prints and 2 Artist Proof\r 20 x 24 inches \r ID npdel9\r ©Pascal Demeester\r\r\r\r","overrides":{},"featuredImage":"","dateAdded":"2014-01-22T01:15:17.000Z","filters":[],"oldContent":"Deluge-Bodies9_Pascal-Demeester_1984.jpg","oldThumb":"Deluge-Bodies9_Pascal-Demeester_1984.jpg","postDate":"2023-03-14T14:50:19.859Z"},"10510":{"id":10510,"size":{"content":{"width":1140,"height":1140},"thumb":{"width":1140,"height":1140},"featuredImage":{"width":false,"height":false},"bytes":569838},"label":"Deluge-Bodies10_Pascal-Demeester_1984.jpg","type":"image","content":"Deluge-Bodies10_Pascal-Demeester_1984.jpg","thumb":"Deluge-Bodies10_Pascal-Demeester_1984.jpg","linkTarget":"","caption":" \r \r Deluge’s Bodies 10, Belgium, 1985\r Fiber Based Gelatin Silver Print\r Edition consist of 10 Prints and 1 Artist Proof \r 50 x 60 Inches \r Edition 15 Prints and 2 Artist Proof\r 20 x 24 inches \r ID npdel10\r ©Pascal Demeester\r\r\r\r","overrides":{},"featuredImage":"","dateAdded":"2014-01-22T01:15:17.000Z","filters":[],"oldContent":"Deluge-Bodies10_Pascal-Demeester_1984.jpg","oldThumb":"Deluge-Bodies10_Pascal-Demeester_1984.jpg","postDate":"2023-03-14T14:50:19.859Z"},"10511":{"id":10511,"size":{"content":{"width":1140,"height":1140},"thumb":{"width":1140,"height":1140},"featuredImage":{"width":false,"height":false},"bytes":451984},"label":"Deluge-Bodies11_Pascal-Demeester_1984.jpg","type":"image","content":"Deluge-Bodies11_Pascal-Demeester_1984.jpg","thumb":"Deluge-Bodies11_Pascal-Demeester_1984.jpg","linkTarget":"","caption":" \r \r Deluge’s Bodies 11, Belgium, 1985\r Fiber Based Gelatin Silver Print\r Edition consist of 10 Prints and 1 Artist Proof \r 50 x 60 Inches \r Edition 15 Prints and 2 Artist Proof\r 20 x 24 inches \r ID npdel11\r ©Pascal Demeester\r\r\r\r","overrides":{},"featuredImage":"","dateAdded":"2014-01-22T01:15:19.000Z","filters":[],"oldContent":"Deluge-Bodies11_Pascal-Demeester_1984.jpg","oldThumb":"Deluge-Bodies11_Pascal-Demeester_1984.jpg","postDate":"2023-03-14T14:50:19.859Z"},"10512":{"id":10512,"size":{"content":{"width":1140,"height":1140},"thumb":{"width":1140,"height":1140},"featuredImage":{"width":false,"height":false},"bytes":502199},"label":"Deluge-Bodies12_Pascal-Demeester_1984.jpg","type":"image","content":"Deluge-Bodies12_Pascal-Demeester_1984.jpg","thumb":"Deluge-Bodies12_Pascal-Demeester_1984.jpg","linkTarget":"","caption":" \r \r Deluge’s Bodies 12, Belgium, 1985\r Fiber Based Gelatin Silver Print\r Edition consist of 10 Prints and 1 Artist Proof \r 50 x 60 Inches \r Edition 15 Prints and 2 Artist Proof\r 20 x 24 inches \r ID npdel12\r ©Pascal 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Demeester\r\r\r\r","overrides":{},"featuredImage":"","dateAdded":"2014-01-22T01:15:20.000Z","filters":[],"oldContent":"Deluge-Bodies13_Pascal-Demeester_1984.jpg","oldThumb":"Deluge-Bodies13_Pascal-Demeester_1984.jpg","postDate":"2023-03-14T14:50:19.859Z"},"10514":{"id":10514,"size":{"content":{"width":967,"height":1140},"thumb":{"width":967,"height":1140},"featuredImage":{"width":false,"height":false},"bytes":437749},"label":"Deluge-Bodies14_Pascal-Demeester_1984.jpg","type":"image","content":"Deluge-Bodies14_Pascal-Demeester_1984.jpg","thumb":"Deluge-Bodies14_Pascal-Demeester_1984.jpg","linkTarget":"","caption":" \r\n \r\n Deluge’s Bodies 14, Belgium, 1985\r\n Fiber Based Gelatin Silver Print\r\n Edition consist of 10 Prints and 1 Artist Proof \r\n 50 x 60 Inches \r\n Edition 15 Prints and 2 Artist Proof\r\n 20 x 24 inches \r\n ID npdel14\r\n ©Pascal Demeester\r\n\r\n\r\n\r\n","overrides":{},"featuredImage":"","dateAdded":"2014-01-22T01:15:21.000Z","filters":[],"oldContent":"Deluge-Bodies14_Pascal-Demeester_1984.jpg","oldThumb":"Deluge-Bodies14_Pascal-Demeester_1984.jpg","postDate":"2023-03-14T14:50:19.859Z"},"10515":{"id":10515,"size":{"content":{"width":1140,"height":1140},"thumb":{"width":1140,"height":1140},"featuredImage":{"width":false,"height":false},"bytes":605269},"label":"Deluge-Bodies15_Pascal-Demeester_1984.jpg","type":"image","content":"Deluge-Bodies15_Pascal-Demeester_1984.jpg","thumb":"Deluge-Bodies15_Pascal-Demeester_1984.jpg","linkTarget":"","caption":" \r\n \r\n Deluge’s Bodies 15, Belgium, 1985\r\n Fiber Based Gelatin Silver Print\r\n Edition consist of 10 Prints and 1 Artist Proof \r\n 50 x 60 Inches \r\n Edition 15 Prints and 2 Artist Proof\r\n 20 x 24 inches \r\n ID npdel15\r\n ©Pascal Demeester\r\n\r\n\r\n\r\n","overrides":{},"featuredImage":"","dateAdded":"2014-01-22T01:15:22.000Z","filters":[],"oldContent":"Deluge-Bodies15_Pascal-Demeester_1984.jpg","oldThumb":"Deluge-Bodies15_Pascal-Demeester_1984.jpg","postDate":"2023-03-14T14:50:19.859Z"},"10516":{"id":10516,"size":{"content":{"width":1140,"height":1140},"thumb":{"width":1140,"height":1140},"featuredImage":{"width":false,"height":false},"bytes":556316},"label":"Deluge-Bodies16_Pascal-Demeester_1984.jpg","type":"image","content":"Deluge-Bodies16_Pascal-Demeester_1984.jpg","thumb":"Deluge-Bodies16_Pascal-Demeester_1984.jpg","linkTarget":"","caption":" \r \r Deluge’s Bodies 16, Belgium, 1985\r Fiber Based Gelatin Silver Print\r Edition consist of 10 Prints and 1 Artist Proof \r 50 x 60 Inches \r Edition 15 Prints and 2 Artist Proof\r 20 x 24 inches \r ID npdel16\r ©Pascal Demeester\r\r\r\r","overrides":{},"featuredImage":"","dateAdded":"2014-01-22T01:15:24.000Z","filters":[],"oldContent":"Deluge-Bodies16_Pascal-Demeester_1984.jpg","oldThumb":"Deluge-Bodies16_Pascal-Demeester_1984.jpg","postDate":"2023-03-14T14:50:19.859Z","key":"10516"},"10517":{"id":10517,"size":{"content":{"width":1140,"height":1140},"thumb":{"width":1140,"height":1140},"featuredImage":{"width":false,"height":false},"bytes":513168},"label":"Deluge-Bodies17_Pascal-Demeester_1984.jpg","type":"image","content":"Deluge-Bodies17_Pascal-Demeester_1984.jpg","thumb":"Deluge-Bodies17_Pascal-Demeester_1984.jpg","linkTarget":"","caption":" \r \r Deluge’s Bodies 17, Belgium, 1985\r Fiber Based Gelatin Silver Print\r Edition consist of 10 Prints and 1 Artist Proof \r 50 x 60 Inches \r Edition 15 Prints and 2 Artist Proof\r 20 x 24 inches \r ID npdel17\r ©Pascal 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Demeester\r\r\r\r","overrides":{},"featuredImage":"","dateAdded":"2014-01-22T01:15:27.000Z","filters":[],"oldContent":"Deluge-Bodies20_Pascal-Demeester_1984.tiff.jpg","oldThumb":"Deluge-Bodies20_Pascal-Demeester_1984.tiff.jpg","postDate":"2023-03-14T14:50:19.859Z"},"10521":{"id":10521,"size":{"content":{"width":1139,"height":1140},"thumb":{"width":1139,"height":1140},"featuredImage":{"width":false,"height":false},"bytes":558200},"label":"Deluge-Bodies21_Pascal Demeester_1984..jpg","type":"image","content":"Deluge-Bodies21_PascalDemeester_1984..jpg","thumb":"Deluge-Bodies21_PascalDemeester_1984..jpg","linkTarget":"","caption":" \r \r Deluge’s Bodies 21, Belgium, 1985\r Fiber Based Gelatin Silver Print\r Edition consist of 10 Prints and 1 Artist Proof \r 50 x 60 Inches \r Edition 15 Prints and 2 Artist Proof\r 20 x 24 inches \r ID npdel21\r ©Pascal Demeester\r\r\r\r","overrides":{},"featuredImage":"","dateAdded":"2014-01-22T01:15:28.000Z","filters":[],"oldContent":"Deluge-Bodies21_Pascal 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\r \r Deluge’s Bodies 26, Belgium, 1985\r Fiber Based Gelatin Silver Print\r Edition consist of 10 Prints and 1 Artist Proof \r 50 x 60 Inches \r Edition 15 Prints and 2 Artist Proof\r 20 x 24 inches \r ID npdel26\r ©Pascal Demeester\r\r\r\r","overrides":{},"featuredImage":"","dateAdded":"2014-01-22T01:15:33.000Z","filters":[],"oldContent":"Deluge-Bodies26_Pascal-Demeester_1984.jpg","oldThumb":"Deluge-Bodies26_Pascal-Demeester_1984.jpg","postDate":"2023-03-14T14:50:19.859Z"},"10527":{"id":10527,"size":{"content":{"width":1140,"height":1140},"thumb":{"width":1140,"height":1140},"featuredImage":{"width":false,"height":false},"bytes":569298},"label":"Deluge-Bodies27_Pascal-Demeester_1984.jpg","type":"image","content":"Deluge-Bodies27_Pascal-Demeester_1984.jpg","thumb":"Deluge-Bodies27_Pascal-Demeester_1984.jpg","linkTarget":"","caption":" \r \r Deluge’s Bodies 27, Belgium, 1985\r Fiber Based Gelatin Silver Print\r Edition consist of 10 Prints and 1 Artist Proof \r 50 x 60 Inches \r Edition 15 Prints and 2 Artist Proof\r 20 x 24 inches \r ID npdel27\r ©Pascal Demeester\r\r\r\r","overrides":{},"featuredImage":"","dateAdded":"2014-01-22T01:15:34.000Z","filters":[],"oldContent":"Deluge-Bodies27_Pascal-Demeester_1984.jpg","oldThumb":"Deluge-Bodies27_Pascal-Demeester_1984.jpg","postDate":"2023-03-14T14:50:19.859Z"},"10528":{"id":10528,"size":{"content":{"width":1140,"height":1140},"thumb":{"width":1140,"height":1140},"featuredImage":{"width":false,"height":false},"bytes":645427},"label":"Deluge-Bodies28_Pascal-Demeester_1984.jpg","type":"image","content":"Deluge-Bodies28_Pascal-Demeester_1984.jpg","thumb":"Deluge-Bodies28_Pascal-Demeester_1984.jpg","linkTarget":"","caption":" \r \r Deluge’s Bodies 28, Belgium, 1985\r Fiber Based Gelatin Silver Print\r Edition consist of 10 Prints and 1 Artist Proof \r 50 x 60 Inches \r Edition 15 Prints and 2 Artist Proof\r 20 x 24 inches \r ID npdel28\r ©Pascal 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Demeester\r\r\r\r","overrides":{},"featuredImage":"","dateAdded":"2014-01-22T01:15:36.000Z","filters":[],"oldContent":"Deluge-Bodies29_Pascal-Demeester_1984.tiff.jpg","oldThumb":"Deluge-Bodies29_Pascal-Demeester_1984.tiff.jpg","postDate":"2023-03-14T14:50:19.859Z"},"10530":{"id":10530,"size":{"content":{"width":1151,"height":1140},"thumb":{"width":1151,"height":1140},"featuredImage":{"width":false,"height":false},"bytes":259211},"label":"Bilboard4_Pascal Demeester_1998-99-DUP.jpg","type":"image","content":"Bilboard4_PascalDemeester_1998-99-DUP.jpg","thumb":"Bilboard4_PascalDemeester_1998-99-DUP.jpg","linkTarget":"","caption":"Bilboard 4, Los Angeles, 1998\r Fiber Based Gelatin Silver Print\rEdition 15 Prints and 1 Artist Proof\r 20 x 24 inches \r ID npbil4 \r ©Pascal Demeester\r\r","overrides":{},"featuredImage":"","dateAdded":"2014-01-22T04:49:37.000Z","filters":[],"oldContent":"Bilboard4_Pascal Demeester_1998-99-DUP.jpg","oldThumb":"Bilboard4_Pascal 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Archaic constructs of shelters, striking angles framed through interwoven trees, drawings setting a woodland scene - original works by this artist aren’t only an homage to nature’s precious and uncertain resources, they are an experience, a proposition to every one. Let’s embark on a search for the wild child - let’s reconnect with the wild child within, that we once were or could have been! Crouched on a forest’s edge, observe the world through branches, visualize what our refuge could look like. The power of Demeester’s work is anchored in this implicit invitation and presents itself as an adventure of aesthetics, symbolism, originality and mystery, and all connect to the personal and universal.\n\nART AND FOREST, TWO WINDOWS FOR THE YOUNG ARTIST.\n\nThe artist Pascal Demeester was born in Brussels in 1959 and now lives in New York. Being multidisciplinary, he puts his creativity in service of the arts and fashion. Under the tutelage of his uncle, sculptor Marcel Arnould (1928-1974), and his aunt, painter Renée Demeester (1927- ), Demeester developed his artistic talents. He took courses at the School of Graphic Research (ERG) in Brussels, and received a BFA . He had his first solos exhibit “Deluge’s Bodies” shown at the photo gallery Contretype . He has since remained dedicated to his craft, never ceasing to create and innovate. But where does this powerful attraction to the forest stem from?\nIt stems from his childhood and a revelation. When he observed “Vanishing Point”, his new black and white photography series, he put forward one question: “Isn't this from the point of view of the wild child I were?” This observation was a trigger moment for the artist who spent his reclusive childhood in the solitude of the countryside - “crouched deep into my refuge to escape from family turmoil, I observed the world.” This was a shared experience with filmmaker François Truffaut whose childhood was defined by playing hooky. In Tuffaut’s film L’Enfant sauvage, he tells the story of Victor from Aveyron [French town] where a child was found in a forest. This story resonated with Demeester’s past and prompted him to reflect on how we integrate into the world. This reflection is carried by the power of imagery. The photos of Pascal Demeester then make us feel the gaze of one who feels isolated. \n\nTHE FOREST, A SYMBOLIC SETTING.\n\nThe framed vegetation keeps the world at a distance, illustrating windows with varying thickness but remaining very somber. Through these 'windows', one sometimes sees the trunks of black trees which evokes prison bars and blocks the view. These symbols are ever questioning.\n\nIN ACCORDANCE WITH THE WOODS.\n\n\nTo bring his works to life, Pascal Demeester doesn’t hesitate to use his body. Whether it’s windy or snowy, he crafts his shelter, leaf by leaf with expert fingers. He treks for miles on foot in search of inspiration. He never alters the vantage points that the forest naturally offers. This respect for nature is particularly critical at a time of rampant deforestation. Yes, Man can in fact live harmoniously in his environment. The artist embodies this concept. Furthermore, by using deadwood as raw material, he ennobles it, making it an ally.\nIn this sense, Pascal Demeester isn’t just an artist, he becomes an artist-artisan hybrid, heir to the Greek philosophy of ‘techne’, which values art as a technical construction, not just inspiration. Wood was also the privileged tool of early Netherlandish painters, also known as ‘Flemish Primitives’ like Jan Van Eyck, Pieter Brueghel the Elder and Pieter Pourbus - all legendary role models for the artist. \n\nLET'S DISCARD THE MEDIUM, LET'S US LIVE THE FOREST.\n\n\nThe stakes of his work play with the experimental as well as the aesthetic. It surprises the viewer with its radicalism and richness. Deeply. \n\n\n\nIMMERSION IN THE HEART OF A PERSONAL ORIGINAL ADVENTURE.\n\nA SHARE OF THE CHILDHOOD IN EACH OF US.\n\n\nThis experience resembles an original adventure that deeply and continuously questions us. As such, the forest of Pascal Demeester shelters the ‘infans’ that we once were, the child before speech, before civilization. Psychoanalyst Jean-Bertrand Pontalis defines [infans] as “one who taps into all ranges of sensations, images, confused yet mysterious perceptions...one that has not been dominated by language.” The photographs makes us feel that child which understands the world as an animal and views a domesticated exterior as irreconcilably distant and foreign. \n\nA FOREST SOMEWHERE IN OUR MEMORY \n\nThe mist and blur reaffirm this situation, shrouding the forest clearing with a dream-like veil that transforms a horse into a ghostly apparition. The choice of using black and white also plays a role in that it facilitates a journey into memory. Tarkovski, through his filmography, suggests that memories don’t always retain colors. In this regard, Demeester’s work seems to tie in with the Russian filmmaker in that it allows us to relive original memories. \n\nTHE ORIGIN OF THE WORLD ? \n\nThe hole-shaped framing even manages to place us, as observers, in a womb-like state, lodged in the deepest nooks of our forest mother. \nThe pointed exterior doesn’t appear any less than a “concerning oddity.” What is familiar becomes a sudden cause of anxiety - to paraphrase a Freudian expression. The obscurity around the framed foliage and strangeness from different vantage points creates an impasse. This complexity enriches the artistic proposition. \n\nSO, IS THE FOREST OUR LAST REFUGE ? \n\n Each work celebrates it as a shelter, but it is a paradoxical shelter, one that is mysterious, never claimed, and always under construction. In a hypermodern world, nature seems to have become an eternal pursuit. Different plastic materials are a testament to the relentless pursuit of natural shelters: inks, crayons and charcoal drawings, structures made of melted wax, bronze, stone. The artist is prolific. He is currently working on shelter sculpture which will allow city-dwellers to recharge in a center of urbanity . For those of us confronted by city pressures, Pascal Demeester proposes a sensory return to nature, simplicity and finally, to ourselves.\n\n\n","thumb":"","linkTarget":"","caption":"","overrides":{},"featuredImage":"","dateAdded":"2015-10-02T14:05:27.000Z","filters":[],"oldFeaturedImage":"webok.jpg","key":"10616"},"10617":{"id":10617,"size":{"content":{"width":0,"height":0},"thumb":{"width":0,"height":0},"featuredImage":{"width":0,"height":0},"bytes":false},"label":"","type":"video","content":"vimeo:https://vimeo.com/136126850","thumb":"","linkTarget":"","caption":"","overrides":{},"featuredImage":"","dateAdded":"2015-10-02T21:26:21.000Z","filters":[]},"10618":{"id":10618,"size":{"content":{"width":1280,"height":720},"thumb":{"width":1441,"height":1140},"featuredImage":{"width":0,"height":0},"bytes":false},"label":"\"SHELTER #3\", 2014 ©Pascal Demeester","type":"video","content":"vimeo:136126850","thumb":"Pascal-Demeester-Fern-And-Vine-Shelter-NPC93_IIa-2014-Chromogenic-Paper-55.5-by-71.5-Inches--140.97cm-by-181.61cm-copy3.jpg","linkTarget":"","caption":"\"SHELTER #3\", 2014 ©Pascal Demeester","overrides":{},"featuredImage":"","dateAdded":"2015-10-02 16:27:42","filters":["VIDEO SHELTER "],"oldThumb":"Pascal-Demeester,-Fern-And-Vine-Shelter-NPC93_IIa,-2014,-Chromogenic-Paper,-55.5-by-71.5-Inches--140.97cm-by-181.61cm-copy3.jpg"},"10619":{"id":10619,"size":{"content":{"width":0,"height":0},"thumb":{"width":1519,"height":1140},"featuredImage":{"width":0,"height":0},"bytes":false},"label":"\"SHELTER #2\",2014 ©Pascal Demeester","type":"video","content":"vimeo:136125598","thumb":"6Pascal-Demeester-Rock-Shelter-NPC94_Ia-2014-Chromogenic-Paper-55.5-by-71.5-Inches_-140.97cm-by-181.61cm-SB-.jpg","linkTarget":"","caption":"\"SHELTER #2\",2014 ©Pascal Demeester","overrides":{},"featuredImage":"","dateAdded":"2015-10-02T21:29:46.000Z","filters":[],"oldThumb":"6Pascal-Demeester-Rock-Shelter-NPC94_Ia-2014-Chromogenic-Paper-55.5-by-71.5-Inches_-140.97cm-by-181.61cm-SB-.jpg"},"10620":{"id":10620,"size":{"content":{"width":0,"height":0},"thumb":{"width":1403,"height":1140},"featuredImage":{"width":0,"height":0},"bytes":false},"label":"\"SHELTER #1\",2014 ©Pascal Demeester","type":"video","content":"vimeo:136120557","thumb":"Pascal-Demeester-Birch-And-Moss-Shelter-NPC9I_IIf-2014-Chromogenic-Paper-55.5-by-71.5-Inches-140.97cm-by-181.61cm-copy2.jpg","linkTarget":"","caption":"\"SHELTER #1\",2014 ©Pascal Demeester","overrides":{},"featuredImage":"","dateAdded":"2015-10-02T21:36:36.000Z","filters":[],"oldThumb":"Pascal-Demeester,-Birch-And-Moss-Shelter-NPC9I_IIf,-2014,-Chromogenic-Paper,-55.5-by-71.5-Inches-140.97cm-by-181.61cm-copy2.jpg"},"10621":{"id":10621,"size":{"content":{"width":0,"height":0},"thumb":{"width":0,"height":0},"featuredImage":{"width":0,"height":0},"bytes":0,"pageImages":[]},"label":"\"A notre enfance sauvage\" Hélène Fresnel Professeur agrégé, Critique d 'art","type":"html","content":"Derrière les feuilles, le monde.\n\nL’artiste Pascal Demeester parcourt l’Europe et les Etats-Unis pour nous faire redécouvrir la forêt, dans de spectaculaires photographies, dessins et sculptures. Des constructions d’abris archaïques, de saisissantes prises de vue cadrées à partir de l’enchevêtrement des arbres, d’importants dessins de sous-bois : l’œuvre originale de cet artiste n’est pas seulement un hommage aux ressources précieuses et précaires de la nature. C’est une expérience, proposée à chacun. Partons à la recherche de la figure de l’enfant sauvage, voire plus : redevenons nous-mêmes l’enfant sauvage que nous avons été ou aurions pu être! Tapis à la lisière de la forêt, observons le monde à travers les branches, visualisons ce à quoi pourrait ressembler son refuge. La force de l’œuvre tient dans cette invitation implicite, et s’offre comme une aventure esthétique, symbolique, originelle, et mystérieuse, qui touche à l’intime et à l’universel. \n\nL'art et la forêt, deux fenêtres pour le jeune artiste.\n\nPascal Demeester, est né à Bruxelles en 1959 et vit à New-York. Pluridisciplinaire, il met sa créativité au service de l’art et de la mode. Sous l’égide du sculpteur Marcel Arnould, son oncle (1928-1974), et de sa tante Renée Demeester, artiste peintre (1927- ), il développe ses talents artistiques, suit ensuite des cours à la prestigieuse Ecole de recherche graphique E.R.G. de Bruxelles, reçoit le Prix d’une Institution belge et expose « Les corps du déluge » à la galerie de photographie Contretype. Depuis, l’artiste ne cesse de créer et d’innover. Mais d’où vient cette puissante attirance pour la forêt? \n\nDe son enfance, et d’une révélation. En observant ses clichés, une question surgit : n’est-ce pas le regard de l’enfant sauvage que tu as été ? C’est un déclic pour l’artiste, qui a passé son enfance reclus dans la campagne solitaire: « tapi au fond de mon abri pour échapper au tumulte familial, j’observais le monde ». Cette situation, c’est aussi celle qu’a vécue François Truffaut, marqué par son enfance buissonnière : dans L’Enfant sauvage, il choisit de raconter l’histoire de Victor de L’Aveyron, un enfant trouvé dans la forêt, parce que cette histoire fait écho à son passé et permet une réflexion sur notre intégration au monde. Cette réflexion est portée par la puissance de l’image. Les photographies de Pascal Demeester nous font ainsi sentir le regard de qui se sent isolé.\n\nLa forêt, un cadre symbolique.\n\n Les cadres végétaux, tiennent le monde à distance et dessinent des fenêtres, d’épaisseurs différentes, mais toujours très sombres. A travers, on aperçoit parfois des troncs d’arbres noirs, qui évoquent les barreaux d’une prison et obstruent la vue. A nous de rêver les symboles qui nous parlent.\n\nDans le respect des bois.\n\nPour réaliser ces travaux, Pascal Demeester n’hésite pas à impliquer son corps. Qu’il vente ou qu’il neige, il construit ses abris, feuille après feuille, de son doigté d’expert. Il enchaine les kilomètres à pied à la recherche de son inspiration. Il ne modifie jamais les angles de vue que la forêt offre naturellement. Ce respect de la nature est crucial en ces temps de déforestation massive. Oui, l’homme peut vivre en bonne intelligence avec son milieu. L’artiste incarne cette idée. Plus encore : en se servant du bois mort comme d’une matière première, il l’ennoblit, il en fait un allié. En ce sens, Pascal Demeester n’est pas qu’un artiste, il se fait artiste-artisan, héritier de la « technè » grecque, qui sait valoriser l’art comme construction technique, et non seulement comme inspiration. Le bois est également le support privilégié des primitifs flamands comme Jan Van Eyck, Pieter Brueghel L’Ancien ou Pieter Pourbus, ancêtres-modèles de l’artiste. \n\nQue dispraisse le medium, que l'on nous laisse vivre la forêt.\n\nL’enjeu de l’œuvre est esthétique, expérimental, radical, cohérent.\n \n« Je tente de détruire la photographie».\n\n C’est tout simplement en ces termes provocateurs que Pascal Demeester formule son ambition… de photographe. Que comprendre ? Que la photographie sait faire oublier son aspect documentaire : il ne s’agit plus de montrer un point de vue mais de faire vivre la présence de celui qui observe, une présence innocemment sauvage. L’artiste subvertit les idées préconçues : le cadre n’est pas accessoire, c’est l’essentiel. Autrement dit, c’est la forêt qui devient l’objet essentiel de l’image, qui devient l’objet de notre expérience. Elle rend palpable l’existence de celui qui s’y meut et nous identifie à lui. Regardons, par exemple, la photographie 76a de la série Vanishing Point. Les trois quarts de l’espace sont occupés par les branches qui forment le cadre, et imposent le noir comme dominante. Le point de vue sur la vache apparaît secondaire, incongru. Cette photographie me semble révélatrice de l’extraordinaire force de l’œuvre. L’animal nous regarde droit dans les yeux. Ce n’est pas nous qui l’observons, mais lui qui nous observe.\n\n Ainsi, le spectateur est surpris dans sa cachette forestière et c’est cette cachette, ce refuge, ce cadre mystérieux, qui constitue le cœur de l’expérience artistique. La photographie se fait alors oublier : nous ne voyons pas ce qu’elle montre, nous voyons comme le photographe voit et nous partageons son expérience. Libre ensuite à chacun de la prolonger.\n\nPlongée au coeur d'une aventure personnelle et originelle.\n\nUne part d'infans en nous.\n\nCette expérience ressemble à une aventure originelle qui nous interpelle viscéralement. Ainsi saisie, la forêt de Pascal Demeester abrite l’ « infans » que nous avons tous été, l’enfant d’avant la parole, d’avant la civilisation. Le psychanalyste Jean-Bertrand Pontalis le définit même comme: « celui qui a accès à tout un registre de sensations, d'images, de perceptions confuses mais très précieuses. (…) celui qui n'est pas encore tyrannisé par le langage ». Les photographies nous font sentir cet enfant qui appréhende le monde en animal, et regarde l’extérieur domestiqué comme irrémédiablement distant et étrange. \n\nUne forêt quelque part dans notre mémoire. \n\n\nLes brumes et les flous restituent cette situation, nimbant une clairière d’un voile onirique, métamorphosant un bon cheval en apparition spectrale. Le choix du noir et blanc joue également son rôle : il facilite le voyage dans la mémoire. Tarkovski, à travers sa filmographie, suggère que la mémoire ne conserve pas toujours le souvenir des couleurs. L’œuvre de Pascal Demeester semble rejoindre en ce point celle du cinéaste russe, dans la mesure où elle permet de revivre des souvenirs originels.\n\nA l'origine du monde ?\n\nLa forme d’orifice de certains cadrages parvient même à nous mettre nous, les spectateurs, en position utérine, comme nichés dans les profondeurs obscures de la forêt-mère. L’extérieur pointé n’apparait pas moins comme une « inquiétante étrangeté ». Ce qui est familier devient soudain source d’angoisse, pour paraphraser l’expression de Freud. L’obscurité, du côté des cadres végétaux, et l’étrange, du côté des points de vue, créent une situation parfois aporétique. Cette complexité fait aussi la richesse de la proposition artistique. \n\nAlors la forêt, est-ce notre dernier refuge ? \n\nTout l’œuvre la célèbre comme un abri, mais c’est un abri paradoxal, mystérieux, jamais acquis, toujours en construction. Dans notre monde hyper-moderne, la nature semble ainsi devenue une quête perpétuelle.\n Les différents supports plastiques témoignent de cette quête inépuisable de l’abri naturel: dessins au crayon, constructions en cire fondue, en bronze, en pierre, photographies. L’artiste est prolifique . Il travaille actuellement à la réalisation d’un abri sculpture « pour permettre aux citadins de se ressourcer au cœur de l’urbanité, ». Pour nous qui sommes confrontés à la pression citadine, Pascal Demeester propose un retour riche de sens à la nature, à la simplicité, et finalement, à nous-mêmes.\n\n\n\n","thumb":"","linkTarget":"","caption":"","overrides":{},"featuredImage":"","dateAdded":"2015-10-02T14:44:27.000Z","filters":[],"oldFeaturedImage":"webok-copy1.jpg","key":"10621"},"10622":{"id":10622,"size":{"content":{"width":1134,"height":1075},"thumb":{"width":0,"height":0},"featuredImage":{"width":0,"height":0},"bytes":701868},"label":"Pascal Demeester_Atelier 2015 Brookly, 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en 1959 (BE / US) vit et travaille à Bruxelles. \n\nPascal Demeester est bruxellois. Après ses études à l’E.R.G. et quelques années de création et de travail photographique, Pascal Demeester, né en 1959, passera plus de vingt années entre New-York et Los Angeles en passant par Paris, et Bruxelles qu’il rejoindra définitivement en 2019 avec son épouse, l’artiste japonaise Keiko Hamaguchi. Ce retour aux sources va en provoquer un autre. Celui du questionnement sur l’identité artistique avant la culture. Qui étais-je avant l’école, les livres, les musées et ses chocs esthétiques?\n\nS’immerger dans un espace où se reconstruit une vie de mouvement. Ramener des lieux les boîtes d’archives, les tendres accessoires à nos vies, les outils de création. Tout est enfin retrouvé. L’espace est grand et lumineux. Le calme y est valeur première. Le travail peut recommencer. Les tables, les chaises, les pots et pinceaux, les crayons et gommes sont disposées.\n\nPrendre un papier mais pas n’importe lequel. Du papier à grains. Pour que mes envies de formes y prennent corps. Puis le crayon parce que c’est par là que je débute dit l’artiste. Une seule certitude muée en désir absolu existait, celle de dessiner des formes sculpturales et dont la genèse venait du trait. Un seul trait qui déambule sur le papier et qui se fera de plus en plus libre. Une sorte de danse d’émotions dont le crayon est la barre de navigation et dont surgit un brouillon de formes toutes riches d’informations. Tout est instinctif, véritable transe parce que la pensée est laissée de côté. C’est aux yeux fermés que naissent les formes et c’est à la lumière que surgit l’intériorité.\n\nAprès les formes, il y a l’ombre et la lumière. Pascal D. crée une lumière imaginaire ou utilise la lumière réelle. Aucun jeu avec elle, parce qu’il n’y a qu’un soleil. Parce qu’il n’y a qu’une seule à la fois. Sans doute le seul point commun avec son travail de photographie, les ombres apparaissent et se font naturellement.\n\nQuant aux couleurs, elles se sont imposées avec le changement de format. Quittant ses codes esthétiques, l’artiste a eu besoin de «catastrophes». Faire un choix de couleurs qui le provoquait dans ses certitudes esthétiques. La catastrophe éprouvée à un moment pousse Demeester a interroger les couleurs. Surpasser les certitudes provoque à chaque dessin un sentiment de liberté qui fait qu’il se sent emporté et qu’à un moment cela fonctionne.\n\nLa complexité et la densité de certains dessins nous renvoient à un besoin de lecture calme et lent même si parfois au premier regard des formes se révèlent et peuvent être interprétées ou devenir figuratives pour certains. De la danse, des enchevêtrements foeteaux, des corps et des culs, tout y est rondeur et cellule. Tout y est mouvement et vie. Ce travail ne serait-il pas une première réponse à la question du retour aux sources avant la culture tant desiré de l’artiste?\n\nIS.\n\nPascal Demeester donne à voir des œuvres plurielles, telles des photographies, argentiques en noir et blanc et en couleurs. Celui-ci s’exprime également par la gravure , la peinture, la sculpture, la vidéo et par des images générées par des caméras photos-numériques.","thumb":"","linkTarget":"","caption":"","overrides":{},"featuredImage":"portait-pascal-123-march-2019.jpg","dateAdded":"2015-10-02T15:52:14.000Z","filters":[],"key":"10636"},"10637":{"id":10637,"size":{"content":{"width":1499,"height":1140},"thumb":{"width":0,"height":0},"featuredImage":{"width":0,"height":0},"bytes":1060228},"label":"Intro","type":"image","content":"Intro-copy1.jpg","thumb":"","linkTarget":"","caption":"","overrides":{"captionDefault":true},"featuredImage":"","dateAdded":"2015-10-02T23:41:39.000Z","filters":[],"oldContent":"Intro-copy1.jpg"},"10638":{"id":10638,"size":{"content":{"width":1698,"height":1140},"thumb":{"width":0,"height":0},"featuredImage":{"width":0,"height":0},"bytes":857970},"label":"Layout Landing ","type":"image","content":"Layout-Landing-.jpg","thumb":"","linkTarget":"","caption":"","overrides":{},"featuredImage":"","dateAdded":"2015-10-03T12:22:38.000Z","filters":[],"oldContent":"Layout-Landing-.jpg"},"10639":{"id":10639,"size":{"content":{"width":0,"height":0},"thumb":{"width":1698,"height":1140},"featuredImage":{"width":1698,"height":1140},"bytes":0},"label":"","type":"html","content":"","thumb":"LayoutLanding-copy1.jpg","linkTarget":"","caption":"","overrides":{},"featuredImage":"LayoutLanding-copy2.jpg","dateAdded":"2015-10-03T12:31:31.000Z","filters":[],"oldFeaturedImage":"Layout Landing -copy2.jpg","oldThumb":"Layout Landing -copy1.jpg"},"10640":{"id":10640,"size":{"content":{"width":1390,"height":1057},"thumb":{"width":0,"height":0},"featuredImage":{"width":0,"height":0},"bytes":692820},"label":"OKLanding-","type":"image","content":"OKLanding-.jpg","thumb":"","linkTarget":"","caption":"","overrides":{},"featuredImage":"","dateAdded":"2015-10-03T12:45:27.000Z","filters":[],"oldContent":"OKLanding-.jpg"},"10641":{"id":10641,"size":{"content":{"width":1390,"height":1057},"thumb":{"width":0,"height":0},"featuredImage":{"width":0,"height":0},"bytes":692820},"label":"OKLanding","type":"image","content":"OKLanding.jpg","thumb":"","linkTarget":"","caption":"","overrides":{},"featuredImage":"","dateAdded":"2015-10-03T12:45:52.000Z","filters":[],"oldContent":"OKLanding.jpg"},"10642":{"id":10642,"size":{"content":{"width":1499,"height":1140},"thumb":{"width":0,"height":0},"featuredImage":{"width":0,"height":0},"bytes":798425},"label":"","type":"image","content":"OKLanding--copy1.jpg","thumb":"","linkTarget":"","caption":"","overrides":{},"featuredImage":"","dateAdded":"2015-10-03T12:47:50.000Z","filters":[],"oldContent":"OKLanding--copy1.jpg"},"10643":{"id":10643,"size":{"content":{"width":1499,"height":1140},"thumb":{"width":0,"height":0},"featuredImage":{"width":0,"height":0},"bytes":798425},"label":"OKLanding-","type":"image","content":"OKLanding--copy2.jpg","thumb":"","linkTarget":"","caption":"","overrides":{},"featuredImage":"","dateAdded":"2015-10-03T12:53:45.000Z","filters":[],"oldContent":"OKLanding--copy2.jpg"},"10644":{"id":10644,"size":{"content":{"width":0,"height":0},"thumb":{"width":0,"height":0},"featuredImage":{"width":0,"height":0},"bytes":0,"pageImages":[]},"label":"Full Biography","type":"html","content":"\n\nEducation\n\n1985 Master en arts plastiques, visuel et de l’espace, option photographie.\n Ecole de Recherche Graphique, E.R.G. , Brussels, Belgium \n\n\n\nSolo Exhibitions\n\n\n\n1985: ‘Les corps du déluge’, Galerie Contretype, Brussels, Belgium (Photography) \n\n\n\n2009: ‘Intimate landscape’ Verve Gallery, Sante Fe, USA (Painting) \n\n\n\n2017: ‘The Shed Space’ Brooklyn, New-York (Drawing, Video, Photograph)\n \n\n\n2022: ‘Horror Vacui’ Galerie dédiée, pascal demeester, Brussels, Belgium (Drawings , Engravings)\n \n\n\n2022: ’Un jour comme les autres’, Galerie d-e-m-e-e-s-t-e-r, Brussels, Belgium ( Pantings, Photography)\n \n \n\nGroup Exhibitions\n\n\n\n1984: ‘Quatrième Grand Prix National Photographie Ouverte de Charleroi’, Belgium\n\n\n\n2001: ‘Re-emerging’ Elaine Benson Gallery, East Hampton, NY, USA (Painting)\n \n\n\n2023: ‘Rizhome’, Galerie Melissa Ansel, Brussels, Belgium (Engravings, Photography)\n 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Demeester","type":"image","content":"_SHELTER-NPC98a-Pascal-Demeester-.jpg","thumb":"","linkTarget":"","caption":" \"Shelter N°PC98a\", birch bark, fall red leaves, mushrooms, branches, built in 2015, photographed with a 4x5 large format analog camera, chromogenic paper, 55.5 x 71.5 inches I 140.97 x 181.61 cm ©Pascal Demeester ","overrides":{},"featuredImage":"","dateAdded":"2015-12-08T21:19:53.000Z","filters":[],"oldContent":"_SHELTER-NPC98a-Pascal-Demeester-.jpg","postDate":"2023-03-16T15:24:44.886Z"},"10702":{"id":10702,"size":{"content":{"width":1520,"height":1140},"thumb":{"width":0,"height":0},"featuredImage":{"width":0,"height":0},"bytes":912448},"label":"bts","type":"image","content":"bts.jpg","thumb":"","linkTarget":"","caption":"Woodstock, 10/15/2015 ","overrides":{},"featuredImage":"","dateAdded":"2016-05-17T15:54:38.000Z","filters":[],"oldContent":"bts.jpg"},"10703":{"id":10703,"size":{"content":{"width":0,"height":0},"thumb":{"width":0,"height":0},"featuredImage":{"width":0,"height":0},"bytes":0},"label":"Biography","type":"html","content":"Born in Brussels on July 7, 1959, Pascal Demeester is a contemporary visual artist who lives and works in New York. He is the son of Monique Buts and architect Demeester. He earned a Bachelor of Arts in painting, drawing and photography from the School of Graphic Research (ERG) based in Brussels, Belgium. For four years, he studied under the tutelage of writer, professor and art critic Pierre Sterckx and also learned photography techniques from photographer Jacques Vilet. Demeester has since applied his creativity to personal works as well as to commissioned fashion and commercial visuals for over 20 years. \r\n\r\nPascal Demeester grew up in a family of artists. The nephew of Belgian sculptor Marcel Arnould, he regularly visited Arnould’s studio workshop as well as that of his aunt’s, painter Renée Demeester, alongside whom he developed his artistic talents. His uncle was part of the Phases group, a surrealist collective, whose circle of artists included Marcel Marïen, Marcel Lecomte, Achille Chavée, Jacques Lennep and Jean Coquelet, to name a few. His childhood in the countryside of Ittre, a Belgian province, profoundly shaped his body of work. He builds cabins in the forest whose location he also uses as a source of inspiration to draw and photograph.\r\n\r\nEarly Netherlandish painters, sometimes referred to as ‘Flemish Primitives,' also deeply influenced his work. \r\n\r\nPascal Demeester’s breadth of work spans across photography, from black-and-white film to color. His photoshoots in the forest almost become performance - in fact, Pascal Demeester will not hesitate to spend long hours in the forest in spite of extreme weather conditions.\r\n\r\nHe also expresses himself through illustrations, sculpture and most recently, video art. \r\n\r\nSeveral authors and renowned art critics have lent insight into his artistic work. Pierre Sterckx notably said: “The photographs of Demeester have a fresh quality to them like first tries which, paradoxically and casually, harken to the pasts of the photo and painting.” In the daily newspaper Libre Belgique (\"The Free Belgium\"), Jacques Meuris describes him as an artist “outside the bounds of the contemporary [...] whose approach is decisive.” The philosophy of photographer Henri van Lier places Demeester “on the Neo-Baroque wave.” \r\n\r\nHis artwork has been featured in exhibitions: Elaine Benson Gallery (East Hampton, New York), Verve Gallery (Santa Fe), Contretype (Brussels).","thumb":"","linkTarget":"","caption":"","overrides":{},"featuredImage":"","dateAdded":"2016-05-17T16:42:45.000Z","filters":[]},"10704":{"id":10704,"size":{"content":{"width":0,"height":0},"thumb":{"width":0,"height":0},"featuredImage":{"width":1840,"height":2242},"bytes":0,"pageImages":[{"src":"portait-pascal-12f3-march-2019.jpg","width":1840,"height":2242}]},"label":"Biography","type":"html","content":"Né en 1959 (BE / US) vit et travaille à Bruxelles. \n\nPascal Demeester est bruxellois. Après ses études à l’E.R.G. et quelques années de création et de travail photographique, Pascal Demeester, né en 1959, passera plus de vingt années entre New-York et Los Angeles en passant par Paris, et Bruxelles qu’il rejoindra définitivement en 2019 avec son épouse, l’artiste japonaise Keiko Hamaguchi. Ce retour aux sources va en provoquer un autre. Celui du questionnement sur l’identité artistique avant la culture. Qui étais-je avant l’école, les livres, les musées et ses chocs esthétiques?\n\nS’immerger dans un espace où se reconstruit une vie de mouvement. Ramener des lieux les boîtes d’archives, les tendres accessoires à nos vies, les outils de création. Tout est enfin retrouvé. L’espace est grand et lumineux. Le calme y est valeur première. Le travail peut recommencer. Les tables, les chaises, les pots et pinceaux, les crayons et gommes sont disposées.\n\nPrendre un papier mais pas n’importe lequel. Du papier à grains. Pour que mes envies de formes y prennent corps. Puis le crayon parce que c’est par là que je débute dit l’artiste. Une seule certitude muée en désir absolu existait, celle de dessiner des formes sculpturales et dont la genèse venait du trait. Un seul trait qui déambule sur le papier et qui se fera de plus en plus libre. Une sorte de danse d’émotions dont le crayon est la barre de navigation et dont surgit un brouillon de formes toutes riches d’informations. Tout est instinctif, véritable transe parce que la pensée est laissée de côté. C’est aux yeux fermés que naissent les formes et c’est à la lumière que surgit l’intériorité.\n\nAprès les formes, il y a l’ombre et la lumière. Pascal D. crée une lumière imaginaire ou utilise la lumière réelle. Aucun jeu avec elle, parce qu’il n’y a qu’un soleil. Parce qu’il n’y a qu’une seule à la fois. Sans doute le seul point commun avec son travail de photographie, les ombres apparaissent et se font naturellement.\n\n\n\n\nQuant aux couleurs, elles se sont imposées avec le changement de format. Quittant ses codes esthétiques, l’artiste a eu besoin de «catastrophes». Faire un choix de couleurs qui le provoquait dans ses certitudes esthétiques. La catastrophe éprouvée à un moment pousse Demeester a interroger les couleurs. Surpasser les certitudes provoque à chaque dessin un sentiment de liberté qui fait qu’il se sent emporté et qu’à un moment cela fonctionne.\n\n\n\n\nLa complexité et la densité de certains dessins nous renvoient à un besoin de lecture calme et lent même si parfois au premier regard des formes se révèlent et peuvent être interprétées ou devenir figuratives pour certains. De la danse, des enchevêtrements foeteaux, des corps et des culs, tout y est rondeur et cellule. Tout y est mouvement et vie. Ce travail ne serait-il pas une première réponse à la question du retour aux sources avant la culture tant desiré de l’artiste?\n\nIS.\n\nPascal Demeester donne à voir des œuvres plurielles, telles des photographies, argentiques en noir et blanc et en couleurs. Celui-ci s’exprime également par la gravure , la peinture, la sculpture, la vidéo et par des images générées par des caméras photos-numériques.\n","thumb":"","linkTarget":"","caption":"","overrides":{},"featuredImage":"portait-pascal-12f3-march-2019.jpg","dateAdded":"2016-05-17T09:48:04.000Z","filters":[],"key":"10704"},"10705":{"id":10705,"size":{"content":{"width":231,"height":283},"thumb":{"width":0,"height":0},"featuredImage":{"width":0,"height":0},"bytes":31197},"label":"apf","type":"image","content":"apf-copy1.jpg","thumb":"","linkTarget":"","caption":"","overrides":{},"featuredImage":"","dateAdded":"2016-05-17T17:36:42.000Z","filters":[],"oldContent":"apf-copy1.jpg"},"10706":{"id":10706,"size":{"content":{"width":1441,"height":1140},"thumb":{"width":0,"height":0},"featuredImage":{"width":0,"height":0},"bytes":927441},"label":"\"Shelter \"Shelter NPC99a\" ©Pascal Demeester\"","type":"image","content":"NPC99.jpg","thumb":"","linkTarget":"","caption":" \"Shelter N°PC99a\", ashes branches, leaves, russet dead trunc pieces, built in 2016, photographed with a 4x5 large format analog camera, chromogenic paper, 55.5 x 71.5 inches I 140.97 x 181.61 cm ©Pascal Demeester","overrides":{},"featuredImage":"","dateAdded":"2016-08-15T13:40:59.000Z","filters":[],"oldContent":"NPC99.jpg","postDate":"2023-03-16T15:25:05.548Z"},"10707":{"id":10707,"size":{"content":{"width":1920,"height":1080},"thumb":{"width":1441,"height":1140},"featuredImage":{"width":0,"height":0},"bytes":false},"label":"\"ShelterNV99\" 2016 ©Pascal Demeester","type":"video","content":"vimeo:179042342","thumb":"Shelter-NPC99.jpg","linkTarget":"","caption":"\"ShelterNV99\" 2016 ©Pascal Demeeste","overrides":{},"featuredImage":"","dateAdded":"2016-08-16T13:39:07.000Z","filters":[],"oldThumb":"Shelter-NPC99.jpg"},"10708":{"id":10708,"size":{"content":{"width":3024,"height":2981},"thumb":{"width":0,"height":0},"featuredImage":{"width":0,"height":0},"bytes":5639818},"label":"Ostraca NP1","type":"image","content":"Ostarca.jpg","thumb":"","linkTarget":"","caption":"\"Ostraca NP1\", 2016, acrylic on ceramic platter, 15\" ","overrides":{},"featuredImage":"","dateAdded":"2016-08-18T17:50:51.000Z","filters":[],"oldContent":"Ostarca.jpg"},"10709":{"id":10709,"size":{"content":{"width":1482,"height":1140},"thumb":{"width":0,"height":0},"featuredImage":{"width":0,"height":0},"bytes":734666},"label":"Drawing ND5 \"Shelter NPC99a\" ","type":"image","content":"Drawing-Shelter11x16inc.jpg","thumb":"","linkTarget":"","caption":" \"Shelter N°PC99a\", N°D5, 2016, Indian Ink, Walnut Ink, Crayons ,on Arches Paper, 300 g/m2, 31 x 41cm / 12 1/8 x 16 1/8 in. 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Demeester","overrides":{},"featuredImage":"","dateAdded":"2017-04-08T15:43:47.000Z","filters":[],"oldContent":"HIGH-RES-Athanor-NS4A2-Series4-gouache-crayon-on-Arches-paper--56-by-76-cm-_-22-by-30-inches-3_26-4_2_2017-Pascal-Demeester.jpg","key":"10829"},"10830":{"id":10830,"size":{"content":{"width":0,"height":0},"thumb":{"width":2316,"height":2126},"featuredImage":{"width":626,"height":500},"bytes":0,"pageImages":[]},"label":"Between Home and Far - an exhibit by Pascal Demeester","type":"html","content":"\nThe Shed presents:\nBetween Home and Far - an exhibit by Pascal Demeester\nApril 29th 2017 6:00 - 10:00 pm\n \n On Saturday, April 29th from 6:00 to 10:00PM, The Shed will host an exhibit by Pascal Demeester entitled \"Between Home and Far\". Pascal Demeester was born in Brussels, Belgium and currently lives in Beacon, NY. While also working with oil painting he uses photography as a complementary medium for his fine art work.\n \nIn a text written about Pascal's work, the critic Hèléne Fresnel asks:\n\nWhat is the common point between a black and white photo, a red wax model of a shelter and a vivid color gouache?\nTheir driving force: the quest of a shelter constantly being reinvented.\nFrom photography to painting, through drawing and land art, the shelter has different aspects as it does not always explicitly appear in the referential form.\nSometimes the forest serves as a possible shelter and sometimes it is the primary place where they are built. Sometimes, the virgin canvas becomes the painting's base in which the small cells are dotted around in the confine of the flat tint.\nTraveling between Pascal Demeester's artwork means to step into geography and an intimate story. These stories revolve around shelters like countries discovered during a passionate artistic and existential quest. They could be figurative or abstract, external or internal, monochromic or colored.\n\nPhotography in black and white is their genesis. Through a meticulous work of framing where branches are used as windows on the world, it reveals three key aspects of the artist's quest:\n•\tThe search of nature outside of the urban hypermodernity (a tribute to the forest's beauty , appreciation of wood as an artistic base material)\n•\tThe questioning of the origin of mankind (the first inhabitants, the birth of humans)\n•\tThe quest for a natural and feminine refuge similar to the woman's womb)\n\nRelationships are being created between the artwork, metaphorical connections which support the coherence of the work. Dark and circulars branches connote a uterine cavity, the use of red to design the interior of a shelter or to paint a gouache, sending us back into ourselves and extending the organic metaphor.\n\"Athanor\", which is the artist's latest series is a leap towards abstraction.. We see a rotation of black flat tint (a reminder of dark forests in photography) and red (perhaps as red as our blood cells) with oval and round shapes. Like Alexander Calder, the game of colors, often primary, seems a quest for the essential.\nThe last drawing of the series, an obvious plastic beauty, goes further than the other ones in the artist's process. For the first time, forms (egg cell?) are escaping from their container. \nTowards which horizon, for what new birth?\nLet us allow ourselves to dream of it.\n\n\n \nFor more information about The Shed, visit \n www.shedspace.org\n \n \nThe Shed Space\n366 6th Street, \nBrooklyn, NY 11215\ninfo@theshedspace.org\n www.shedspace.org\n","thumb":"_ShelterNPC104_PD_03333.jpg","linkTarget":"","caption":"","overrides":{},"featuredImage":"exibition.jpg","dateAdded":"2017-04-11T07:44:04.000Z","filters":[],"key":"10830"},"10831":{"id":10831,"size":{"content":{"width":1508,"height":1140},"thumb":{"width":0,"height":0},"featuredImage":{"width":0,"height":0},"bytes":692579},"label":"\"Athanor N°S5A2\", Series5, gouache, crayon on Arches paper 56 by 76 cm / 22 by 30 inches 4/15-18/2017 ©Pascal Demeeste","type":"image","content":"22Athanor-NS4A322-Series4-gouache-crayon-on-Arches-paper--56-by-76-cm--22-by-30-inches-415-182017-Pascal-Demeester.jpg","thumb":"","linkTarget":"","caption":"\"Athanor 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","overrides":{},"featuredImage":"","dateAdded":"2017-04-19T13:01:02.000Z","filters":[],"oldContent":"APF-Athanor-NS5A2-Series5-gouache-crayon-on-Arches-paper--56-by-76-cm--22-by-30-inches-415-182017-Pascal-Demeester.jpg","postDate":"2023-03-16T15:26:23.021Z"},"10833":{"id":10833,"size":{"content":{"width":1528,"height":1140},"thumb":{"width":0,"height":0},"featuredImage":{"width":0,"height":0},"bytes":683831},"label":"\"Athanor N°S1A12\", Series1, gouache, indian ink, walnut ink, charcoal, crayons 30.48 by 22.86 cm /12 by 9 inches 1/5/2017, ©Pascal Demeester ","type":"image","content":"Web.jpg","thumb":"","linkTarget":"","caption":"\"Athanor N°S1A12\", Series1, gouache, indian ink, walnut ink, charcoal, crayons 30.48 by 22.86 cm /12 by 9 inches 1/5/2017, ©Pascal Demeester ","overrides":{},"featuredImage":"","dateAdded":"2017-04-25T12:01:23.000Z","filters":[],"oldContent":"Web.jpg"},"10834":{"id":10834,"size":{"content":{"width":1451,"height":1140},"thumb":{"width":0,"height":0},"featuredImage":{"width":0,"height":0},"bytes":723909},"label":" \"Shelter N°PC97a\", vines, leaves, built in 2015, photographed with a 4x5 large format analog camera, chromogenic paper, 55.5 x 71.5 inches I 140.97 x 181.61 cm ©Pascal Demeester","type":"image","content":"APF11x14-OK--For-Print--Shelter-NPC97a-vines-leaves-built-in-2015-photographed-with-a-4x5-large-format-analog-camera-chromogenic-paper--55.5-x-71.5-inches--I-140.97-x-181.61-cm-Pascal-Demeester-copy.jpg","thumb":"","linkTarget":"","caption":" \"Shelter N°PC97a\", vines, leaves, built in 2015, photographed with a 4x5 large format analog camera, chromogenic paper, 55.5 x 71.5 inches I 140.97 x 181.61 cm ©Pascal 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Demeester, Horror Vacui, 9 juin-15 juillet 2022. \n \n\nPascal Demeester est bruxellois. Après ses études à l’E.R.G. et quelques années de création et de travail photographique. Pascal Demeester, né en 1959, passera plus de vingt années entre New-York et Los Angeles en passant par Paris, Londres et Bruxelles qu’il rejoindra définitivement en 2019 avec son épouse, l’artiste japonaise Keiko Hamagushi. Ce retour aux sources va en provoquer un autre. Celui du questionnement sur l’identité artistique avant la culture. Qui étais-je avant l’école, les livres, les musées et ses chocs esthétiques?\n\nS’immerger dans un espace où se reconstruit une vie de mouvement. Ramener des lieux les boîtes d’archives, les tendres accessoires à nos vies, les outils de création. Tout est enfin retrouvé. L’espace est grand et lumineux. Le calme y est valeur première. Le travail peut recommencer. Les tables, les chaises, les pots et pinceaux, les crayons et gommes sont disposées. \n\nPrendre un papier mais pas n’importe lequel. Du papier à grains. Pour que mes envies de formes y prennent corps. Puis le crayon parce que c’est par là que je débute dit l’artiste. Une seule certitude muée en désir absolu existait, celle de dessiner des formes sculpturales et dont la genèse venait du trait. Un seul trait qui déambule sur le papier et qui se fera de plus en plus libre. Une sorte de danse d’émotions dont le crayon est la barre de navigation et dont surgit un brouillon de formes toutes riches d’informations. Tout est instinctif, véritable transe parce que la pensée est laissée de côté. C’est aux yeux fermés que naissent les formes et c’est à la lumière que surgit l’intériorité. \n\nAprès les formes, il y a l’ombre et la lumière. Pascal D. crée une lumière imaginaire ou utilise la lumière réelle. Aucun jeu avec elle, parce qu’il n’y a qu’un soleil. Parce qu’il n’y a qu’une seule à la fois. Sans doute le seul point commun avec son travail de photographie, les ombres apparaissent et se font naturellement.\n\nQuant aux couleurs, elles se sont imposées avec le changement de format. Quittant ses codes esthétiques, l’artiste a eu besoin de « catastrophes ». Faire un choix de couleurs qui le provoquait dans ses certitudes esthétiques. La catastrophe éprouvée à un moment pousse Demeester a interroger les couleurs. Surpasser les certitudes provoque à chaque dessin un sentiment de liberté qui fait qu’il se sent emporté et qu’à un moment cela fonctionne.\n\nLa complexité et la densité de certains dessins nous renvoient à un besoin de lecture calme et lent même si parfois au premier regard des formes se révèlent et peuvent être interprétées ou devenir figuratives pour certains. De la danse, des enchevêtrements foeteaux, des corps et des culs, tout y est rondeur et cellule. Tout y est mouvement et vie. Ce travail ne serait-il pas une première réponse à la question du retour aux sources avant la culture tant desiré de l’artiste?\n\n\nIS.\n\ncuratrice\n","thumb":"6Untitled-2022-Pascal-Demeester.jpg","linkTarget":"","caption":"","overrides":{},"featuredImage":"","dateAdded":"2022-11-05T13:01:05.518Z","filters":["COLOR DRAWINGS "],"key":"10944"},"10945":{"id":10945,"size":{"content":{"width":0,"height":0},"thumb":{"width":2467,"height":2126},"featuredImage":{"width":2467,"height":1850},"bytes":0,"pageImages":[{"src":"Un--jour-comme-les-autres_Japan66_-Wallpaper.jpg","width":2467,"height":1850}]},"label":"EN_On an ordinary day. -Pascal Demeester","type":"html","content":"

On an ordinary day. -Pascal Demeester-\nPascal Demeester is a Brussels native, born in Schaerbeek in 1959. He studies at the E.R.G., exhibits at the Contretype gallery and works for 12 years as a fashion and advertising photographer in Brussels before spending more than 20 years between New York and Los Angeles. Paris and London also become temporary havens. In 2019, he settles permanently in Brussels with his wife, Japanese artist Keiko Hamagushi. A return to origins, which also translates into his work.\nIt is from New York in 2011 that he progressively develops an artistic project, starting with a photo-graphic work \" Vanishing Point \" and \" Shelter \" (which were turned into an exhibition and a book as well).\nRecently, Pascal Demeester has also found himself a space in Brussels (Ixelles) where he can exhibit his work. (Instagram @d_e_m_e_e_s_t_e_r).\nIn his previous expo, \"Horror Vacui\", he exhibits drawings and engravings. No photographs. His progressive return to his roots, naturally confronts him with the question, \"Who was I before my education, my traumas, all the books I read, the museums and my aesthetic experiences?\"\nHence, after his photography series \" Vanishing Point \" and \" Shelter \", he returns as an artist to pencil, gouache, charcoal, engraving and paper. Not just any paper, no, paper with grain, so that it embodies his desire for shapes, contours and matter. For Demeester, everything originates with the drawn, the engraved.\nIn these drawings of the \"Horror Vacui\" expo, light and shadow must also be applied. Natural light. Probably the only common point with his work as a photographer.\nIn many cases, the complexity of these drawings calls for a calm and slow reading. In them one already finds a return to the origins, long before the culture (without ignoring it, that is), that this artist so longs for.\nIn his current exhibition, \"On an ordinary day\", this longing, this reasoning, continues. The subject matter? A plethora of images from everyday life in Japan, many from Tokyo, that busy, vibrant metropolis, but also from the countryside, where his wife's relatives live. Seemingly disconnected images. However, this is up to the viewer to decide for himself. Nothing is imposed. He himself says: \"In general, I shot these images in a simple, intuitive way: as soon as a place, a situation appealed to me, a mental cadence, a balanced composition was formed almost immediately. All I had to do was bring the viewfinder to my eye and click\".\nDespite the visual bustle, culture-driven, that is omnipresent in Tokyo, Demeester does not emphasise it. Again, he manages to show images that exude a serenity, a calmness. Both in terms of the absence of actors and graphically. Sometimes almost austere, which is also an essential part of this (almost contradictory) Japanese\nculture.\nAt first glance, these 179 images all appear to be \" photo-graphics \". However, all these images were \"drawn\" by an inkjet printer. Colour by colour, dot by dot (30 ink jets per mm).\nWhether the image is \" executed \" jet by jet by a printer or colour by colour by the artist's hand does not change the result obtained. We are looking at an image that is an interplay of pigmentary colours on a support: \" a painting \". That is also why Demeester answers this with a single \" photo-graphy \". Not a \" positive photo-graphy \" (daguerrotype), but a \" negative photo-graphy \", commonly known as \" a negative \". Importantly, an \" analogue positive print of a negative \" is a \" hybrid photo-graphic image \".\nHence the reference to the subtitle of this series: \"Japan 179 paintings, 1 photo- graphy \".\nIn this case, the 179 images taken from a digital file were recorded by a photo- numeric device. (But nothing can prove this, up to you to take my word for it). The viewer can ask himself questions about the nature of the images.\nDigital files, even before their print is made, are identically duplicatable, copyable, to infinity. They are 100% modifiable and, compared to a negative, lack total authenticity as a witness to the recorded scene.\nThe negative is unique. It is created through chemistry (the energy of photons transferred to billions of salts of silver bromide of the negative).\nWith all images recorded on a numerical file, the viewer can question the \"authenticity\", the \"truthfulness\" of what the image shown is about. This is in contrast to the negative created via chemistry.\nA paw print of a wolf in the snow captured on a negative means the real took place.\nWhen recording on a digital file, there is no such certainty. When using a \" photo- numeric \" camera, as the name itself implies, first a recording of \"photons \" occurs whose energetic quantity is then interpreted by an analogue/numeric converter on a numeric file composed of 0 and 1. There is therefore no conclusive certainty that at this moment the real has taken place, and that the image has not been obtained by an artificial intelligence or another synthesis programme.\nThe 179 images are \" executed \" on \" wallpaper \".\nDemeester quotes: \"En effet, un des enjeux sociétaux fort importants est aujourd'hui \"le processus de confrontation entre la vérité et l'exactitude de la représentation\" - Pierre Barboza \"Du photographique au numérique\", Lharamttan, 1996.\nText: Guy Van Laere.

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On an ordinary day. -Pascal Demeester-\nPascal Demeester is een Brusselaar, geboren in Schaerbeek in 1959. Hij studeert aan het E.R.G., stelt tentoon in de galerie Contretype en werkt 12 jaar als mode - en reclamefotograaf in Brussel voor hij meer dan 20 jaar tussen New York en Los Angeles gaat doorbrengen. Ook Parijs en Londen worden tijdelijke toevluchtsoorden. In 2019 vestigt hij zich definitief met zijn vrouw, de Japanse kunstenares Keiko Hamagushi in Brussel. Een terugkeer naar de oorsprong, die zich ook in zijn werk vertaalt.\nHet is vanuit New York in 2011 dat hij progressief een artistiek project ontwikkelt, wat begint met een foto-grafisch werk\n« Vanishing Point » en « Shelter » (die zich ook in een tentoonstelling en een boek vertaalden).\nOnlangs heeft Pascal Demeester zich ook een ruimte gevonden in Brussel (Elsene) waar hij zijn werk kan tentoonstellen. (Instagram @d_e_m_e_e_s_t_e_r).\nIn zijn vorige expo, \"Horror Vacui\", stelt hij tekeningen en gravures tentoon. Geen foto's. Zijn progressieve terugkeer naar zijn roots, confronteert hem op natuurlijke wijze met de vraag: \"Wie was ik voor mijn opleiding, mijn trauma’s, al de gelezen boeken, de musea en mijn esthetische ervaringen?\"\nVandaar dat hij na zijn fotografie-series « Vanishing Point » en « Shelter » als artiest teruggrijpt naar potlood, gouache, houtskool, gravure en papier. Niet zomaar papier, neen, papier met korrel, zodat zijn verlangen naar vormen, contouren en materie er belichaamd worden. Voor Demeester is alles ontstaan bij het getekende, het gegraveerde.\nIn deze tekeningen van de expo \"Horror Vacui\" dient ook licht en\n schaduw aangebracht te worden. Natuurlijk licht. Vermoedelijk het enige gemeenschappelijke punt met zijn werk als fotograaf.\nDe complexiteit van deze tekeningen vraagt in vele gevallen om een kalme en trage lectuur. Hierin vindt men reeds een terugkeer naar de oorsprong, lang voor de cultuur (zonder die te negeren, welteverstaan), waar deze artiest zo naar verlangt.\nIn zijn huidige tentoonstelling, \"On an ordinary day\", zet dit verlangen, deze redenering, zich verder. Het onderwerp? Een overvloed aan beelden uit het dagelijkse leven in Japan, vele uit Tokyo, die drukke, levendige metropool, maar ook van het platteland, waar de familieleden van zijn vrouw wonen. Ogenschijnlijk van elkaar losstaande beelden. Dat bepaalt de kijker voor zichzelf. Niets wordt opgelegd. Zelf zegt hij daarover: \"Algemeen heb ik deze beelden op een simpele, intuïtieve manier opgenomen: zodra een plaats, een situatie me aansprak, vormde zich quasi onmiddellijk een mentale cadrage, een evenwichtige compositie. Ik moest enkel nog de viseur naar m'n oog brengen en afdrukken\".\nOndanks de visuele drukte, door de cultuur bepaald, die in Tokyo alomtegenwoordig is, legt Demeester daar niet de nadruk op. Ook hier slaagt hij erin beelden te tonen die een sereniteit, een kalmte ademen. Zowel qua afwezigheid van actoren als grafisch. Soms bijna strak, wat ook een essentiëel onderdeel van deze (bijna tegenstrijdige) Japanse cultuur is.\nOp het eerste zicht lijken deze 179 beelden allemaal « foto- grafieën ». Nochtans zijn al deze beelden door een inkjet-printer \"getekend\". Kleur per kleur, punt per punt (30 inktjets per mm). Of het beeld « uitgevoerd » wordt jet per jet door een printer of kleur per kleur door de hand van de artiest, verandert niets aan het behaalde resultaat. We kijken naar een beeld dat een samenspel van pigmentaire kleuren op een drager is: « een schilderij ». Daarom ook dat Demeester dit beantwoordt met één enkele « foto-grafie ». Niet een « positieve foto-\ngrafie » (daguerrotype), maar een « negatieve foto-grafie », algemeen bekend als « een negatief ».\nBelangrijk is dat een ‘analoge positieve afdruk van een negatief’ een ‘hybride foto-grafisch beeld’ is.\nVandaar de verwijzing naar de ondertitel van deze reeks: \"Japan 179 schilderijen, 1 foto-grafie ».\nIn dit geval zijn de 179 beelden afkomstig van een digitaal bestand door een foto-numeriek apparaat opgenomen. (Maar niks kan dit bewijzen, aan u om me op m’n woord te geloven).\n\nDe kijker kan zichzelf vragen stellen bij de natuur van de beelden.\nDigitale bestanden, nog voor de print ervan gemaakt is, zijn identiek verdubbelbaar, kopiëerbaar, tot in het oneindige toe. Ze zijn 100% modificeerbaar en ontbreken, in vergelijking met een negatief, de totale authenticiteit als getuige van de opgenomen scène.\nHet negatief is uniek. Het komt tot stand via chemie (de energie van fotonen die overgebracht worden op miljarden zouten zilverbromide van het negatief).\nBij alle beelden die op een numeriek bestand opgenomen zijn, kan de kijker zich de vraag stellen over de \"echtheid\", de \"waarheidsgetrouwe weergave\" van wat het getoonde beeld inhoudt. Dit in tegenstelling tot het via chemie tot stand gekomen negatief.\nEen pootafdruk van een wolf in de sneeuw op een negatief vastgelegd, betekent dat het reële plaatsgevonden heeft.\nBij een opname op een digitaal bestand, bestaat die zekerheid niet. Bij het gebruik van een « foto-numerieke » camera, zoals de naam het zelf zegt, gebeurt er eerst een opname van « fotonen » waarvan de energetische kwantiteit daarna door een analoog/ numerieke convertisseur geïnterpreteerd wordt op een numeriek bestand dat opgebouwd is uit 0 en 1. Er bestaat dus geen sluitende zekerheid dat op dit moment het reële plaatsgevonden heeft, en dat het beeld niet door een artificiële intelligentie of een ander synthese-programma verkregen werd.\nDe 179 beelden worden « uitgevoerd » op « behangpapier ».\nDemeester citeert: \"En effet, un des enjeux sociétaux fort importants est aujourd'hui \"le processus de confrontation entre la vérité et l'exactitude de la représentation\" - Pierre Barboza \"Du photographique au numérique\", Lharamttan, 1996.\nTekst: Guy Van Laere.

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\nWal-Mart\nExxon\nChevron\nPhillips\nBerkshire Hathaway\nApple\nGeneral Motors\nGeneral Electric\nValero Energy\nFord Motor\nAT&T\nFannie Mae\nCVS Caremark\nMcKesson\nHewlett-Packard\nVerizon Communications\nUnitedHealth Group\nJ.P. Morgan Chase & Co.\nCardinal Health\nInternational Business Machines\nBank of America Corp.\nCostco Wholesale\nKroger\nExpress Scripts Holding\nWells Fargo\nCitigroup\nArcher Daniels Midland\nProcter & Gamble\nPrudential Financial\nBoeing\n
\n
\nBoeing\nFreddie Mac\nAmerisourceBergen\nMarathon Petroleum\nHome Depot\nMicrosoft\nTarget\nWalgreen\nAmerican International Group\nINTL FCStone\nMetLife\nJohnson & Johnson\nCaterpillar\nPepsiCo\nState Farm Insurance Cos.\nConocoPhillips\nComcast\nWellPoint\nPfizer\nAmazon.com\nUnited Technologies\nDell\nDow Chemical\nUnited Parcel Service\nIntel\nGoogle\nLowe's\nCoca-Cola\nCisco Systems\nLockheed Martin\n
\n
\nBest Buy\nSafeway\nFedEx\nEnterprise Products Partners\nSysco\nWalt Disney\nJohnson Controls\nGoldman Sachs Group\nCHS\nAbbott Laboratories\nSears Holdings\nDuPont\nHumana\nWorld Fuel Services\nHess\nIngram Micro\nPlains All American Pipeline\nHoneywell International\nUnited Continental Holdings\nOracle\nLiberty Mutual Insurance Group\nHCA Holdings\nDelta Air Lines\nAetna\nDeere\nSupervalu\nSprint Nextel\nMondelēz International\nNew York Life Insurance\nAmerican Express\n
\n
\n\n
\n\n","thumb":"","linkTarget":"","caption":"","overrides":{"thumbScaleFactor":false},"featuredImage":"Un--jour-comme-les-autres_Japan89_-Wallpaper.jpg","dateAdded":"2022-11-05T13:10:04.297Z","filters":[],"key":"10947"},"10948":{"id":10948,"size":{"content":{"width":0,"height":0},"thumb":{"width":0,"height":0},"featuredImage":{"width":0,"height":0},"bytes":0},"label":"[instagram]","type":"link","content":"https://www.instagram.com/d_e_m_e_e_s_t_e_r/","thumb":"","linkTarget":"_blank","caption":"","overrides":{},"featuredImage":"","dateAdded":"2022-11-05T13:14:30.500Z","filters":["Footer Links"],"key":"10948"},"10973":{"id":10973,"keywords":[],"size":{"content":{"width":875,"height":1239},"thumb":{"width":0,"height":0},"featuredImage":{"width":0,"height":0},"bytes":939381},"label":"PascalDemeester_CARTON_167","type":"image","content":"PascalDemeester_CARTON_167.png","thumb":"","linkTarget":"","caption":"","overrides":{"thumbScaleFactor":false},"featuredImage":"","dateAdded":"2022-11-06T12:31:24.974Z","filters":[],"key":"10973"},"10974":{"id":10974,"size":{"content":{"width":0,"height":0},"thumb":{"width":2467,"height":2126},"featuredImage":{"width":2467,"height":1850},"bytes":0,"pageImages":[{"src":"Un--jour-comme-les-autres_Japan89_-Wallpaper.jpg","width":2467,"height":1850}]},"label":"FR_ Un jour comme les autres. -Pascal Demeester.","type":"html","content":"Un jour comme les autres. -Pascal Demeester.\nPascal Demeester est originaire de Bruxelles, il est né à Schaerbeek en 1959. Il\nétudie à l’E.R.G. , expose à la galerie Contretype et travaille 12 ans comme\nphotographe de mode et de pub à Bruxelles puis émigre aux USA où il travaillera\n20 ans entre New York et Los Angeles.\nParis et Londres deviennent également des refuges temporaires. En 2019, il se\nréinstalle avec son épouse, l'artiste japonaise Keiko Hamaguchi, à Bruxelles. Un\nretour aux origines, qui se traduit aussi dans son travail.\nC’est à partir de New-York en 2011 qu’il va développer progressivement un projet\nartistique qui à débuté par un travail photo-graphique « Vanishing Point » et\n« Shelter » ( Qui fera prochainement l’objet d’un livre et d’une exposition ) .\nC’est aussi à Bruxelles (Ixelles) que Pascal Demeester s’est offert récemment\nun espace où il peux présenter ses travaux . (Instagram @d_e_m_e_e_s_t_e_r)\nDans son exposition précédente, \"Horror Vacui\", il a exposé des dessins, des\ngravures.\nSon retour progressif à ses racines qui a commencé en 2011 l’a confronté\nnaturellement à la question : \"Qui étais-je avant mon éducation, mes traumas,\navant tous les livres lu, les musées et mes expériences esthétiques ?\"\nAprès les séries de photographie « Vanishing Point » et « Shelter » Demeester\nenchaine une succession de gouache, fusain, crayon, gravure. Pour ces\nderniers dessins il utilisera un papier texturé afin que son désir de formes, de\ncontours et de matières s'y incarne.\nPour Demeester c’est par le trait dessiné ou gravé, que tout commence.\nDans ces dessins de l'exposition \"Horror Vacui\", la lumière et l'ombre doivent\négalement être appliquées. Une lumière naturelle. C'est probablement le seul point\ncommun avec son travail de photographe.\nDans de nombreux cas, la complexité de ces dessins appelle une lecture calme et\nlente. On y trouve déjà un retour aux origines, bien avant la culture (sans la nié\npour autant, bien entendu ) auquel cet artiste aspire tant.\nDans son exposition actuelle, « Un jour comme les autres », ce désir, ce\nraisonnement, se poursuit.\nLe sujet ? Une pléthore d'images de la vie quotidienne au Japon, dont beaucoup on\nété captées à Tokyo, cette métropole animée, vibrante et aussi à la campagne où\nrésident les membres de la famille de son épouse. Les images sont apparemment\nindépendantes. Mais c’est le spectateur qui décidera par lui-même. Rien n'est\nimposé. Demeester dit lui-même : \"En général, j'ai pris ces images de manière\nsimple, intuitive : dès qu'un lieu, une situation m’interpellait , une cadence\nmentale, une composition se formait presque immédiatement. Tout ce que j'avais à\nfaire était de porter le viseur à mon œil et déclencher \".\nMalgré l'agitation visuelle déterminée par la culture de l’archipel qui est\nomniprésente à Tokyo, Demeester ne met pas l’accent sur cet aspect.\nLà encore, il parvient à montrer des images qui dégagent une sérénité, un calme par\nla discrétion des personnages et l’harmonie du graphisme. Parfois presque\naustère, ce qui reflète un élément essentiel de cette culture.\nÀ première vue, les 179 images présentées ressemblent à des « photo-graphies ».\nCependant, toutes ces images ( sauf une), ont été réalisées par une imprimante à\njet d'encre ( controlée par un peintre) . Jet par jet. Couleur par couleur. (30\njets d’encre par mm)\nQue l’image soit « exécutée » jet par jet par une imprimante ou que l’image eut été\nréalisée par la main d’un artiste couleur par couleur, le résultat obtenu ne change\nrien au fait que nous observons une ensemble de couleurs pigmentaires sur une\nsurface à savoir : une « peinture ».\nPour Demeester ces179 images qui ressemblent d’abord à des photographie sont donc\nbien des peintures/tableaux auquel il répondra en écho par une seule photo-\ngraphie.\nDans ce cas ci il ne présentera pas une « photographie positive » ( le\ndaguerréiotype) mais une « photo-graphie négative » soit dans le langage commun un\n« négatif ».\nA noter qu’un ‘tirage photographique argentique positif issu d’un négatif » est\nune « image photographique hybride »\n D'où la référence au sous-titre de cette série : \"Japon 179 peintures 1\nphotographie\".\nDans le cas qui nous occupe , les 179 images présentées « dérivent » de\nfichiers numériques qui ont été obtenu par un dispositif de type « caméra photo-\nnumérique. » ( Mais rien ne le prouve et à vous de me croire ou pas sur parole )\nLe spectateur pourra dès lors s'interroger sur la nature des images proposées.\nEn effet, les fichiers numériques, avant même leur interprétations par des jets\nde couleurs , sont duplicables à l'identique, copiables, à l'infini.\nIls sont également 100% modifiables contrairement à l’image d’un négatif\nphotographique qui a été révélé par la chimie et qui est bien une trace obtenue\npar l’énergie des photons transmis aux milliards de sel de bromure d’argent du\nnégatif.\nLes fichiers numériques obtenus avec un camera photo- numérique (ou créés par des\nimages de synthèse) sont intégralement déconnectés de la réalité et ne peuvent\nen aucune manière être de l’orde de la trace , de l’indice.\nPar contre, avec un négatif qui a été marqué tel l’empreinte d’un pas de loup\ndans la neige , il est certain que le réel a eu lieu.\nIl est dès lors important de bien comprendre que lorsque nous utilisons une caméra\n« photo-numérique » il y a d’abord, comme son nom l’indique parfaitement, une\nphase capture « photons » dont la quantité énergétique est ensuite interprétée\npar le convertisseur analogique /numérique en un fichier numérique composé de 0 et\n1.\nIl n'y a donc aucune certitude à ce stade que le réel à bien eu lieu et que\nl’image numérique obtenue n’a pas été crée par une intelligence artificielle ou\nautre programme de synthèse .\nLes 179 images seront « exécutées » sur du « papier peint ».\nTexte Guy Vanlaere\n Demeester cite : \"En effet, un des enjeux sociétaux fort importants est aujourd'hui\n\"le processus de confrontation entre la vérité et l'exactitude de la\nreprésentation\" - Pierre Barboza \"Du photographique au numérique\", 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