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Artist Exhibitions:
SOLOSHOWS
1992 Socio-cultural centre,
Wondelgem (Belgium)
1993 Galerie Dialoog,
Oostende (Belgium)
1994 Galerie De Witte Beer,
Brugge (Belgium)
1995 Museum of Fine Arts,
Oostende (Belgium)
Galerie Di-Art, Lokeren
(Belgium)
1996 Geuzenhuis, Gent
(Belgium)
1997 Galerie Di-Art,
Lokeren (Belgium)
1999 Galerie Di-Art,
Lokeren (Belgium)
2000 Campo Santo, ...
Further Information
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Artist Galleries:
UNITED KINGDOM:
Studio 1.1
57a Redchurch Street
London E2 7DJ (United Kingdom)
www.naimad.co.uk/studio1-1/
studio1-1.gallery@virgin.net
Tel: +44(0)7952986696
SWITZERLAND:
AB Gallery
Arealstrasse 6
6020 Luzern (Switzerland)
www.ab-gallery.com
office@ab-gallery.com
Tel: +41 41 9820880
FRANCE:
Galerie ...
Further Information
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Artist Reviews:
BIBLIOGRAPHY AND REVIEWS
(selection):
Chris Minten in cat.
Provinciale Prijs voor
Beeldende Kunst
West-Vlaanderen, 1992
Cat. Stimulans ’93, Kortrijk
Norbert Hostyn in “Beeldend
Oostende”, M.S.K.Oostende,
1993
Hugo Brutin, beschouwing “Yves
Beaumont”, 1995
Cat. 5de Biënnale Beeldend
West-Vlaanderen, A.Demedtshuis
Wielsbeke, 1995
Hugo Brutin in...
Further Information
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Collections:
Works in public collections:
Museum of Fine Arts, Kortrijk
(Belgium)
Museum of Fine Arts, Oostende
(Belgium)
Province West-Vlaanderen
(Belgium)
Municipality Kuurne (Belgium)
Belgian Ministry of the
Interior (Belgium)
Ensorinstitute, Oostende
(Belgium)
Mercator Bank & Insurance,
Antwerpen (Belgium)
PMMK / Provincial Museum for
Modern Art, Oostende (Belgium)
University of Antwerpen
(Belgium)
The ...
Further Information
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Commissions:
Coming Soon!
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Artist Statement for Yves Beaumont
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Yves Beaumont still finds the ‘inspiration’ for his oeuvre in landscapes. He thoughtfully explores the relations between reality and imagination, between what is represented and the image that takes form on the carrier. The recognisability remains present to a greater or lesser degree, but the sketched or painted image becomes an autonomical, sensual entity. The reality of the image constantly prevails over the reality of the concept evoked. Undoubtedly Yves Beaumont is conscious of the fact that eventually every representation falls short when trying to capture reality. Perhaps for him, in the end, representing is but an alibi for the experience of happening, of acting, of the appearance and disappearance of a possible representation. It is a permanent traveling between construction and deconstruction, painting and painting over, to the ambiguous borderland between the recognisable (meaningful) and the uncertain (meaningless). It is as if the painter reaches for this one, liminal moment between significativeness and absence, between the representation and that which is not representable.
Florent Bex, Former-director of the Museum for Contemporary Art, Antwerp (Belgium)
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contact artist
