Moore, Jaspers, Zadkine, Brancusi and Arp left their mark on his formal language. This formal artists give Debrabandere a licence to make the sculptures he wants to make.

Throughout his sculpting history Debrabandere makes several abstract figures and couples in a lasting quest for the geometric abstract that later will dominate his sculpting art.

His work shows a well-balanced staple-structure, as you also find in the earlier work of Pol Spilliaert and in some statues of Stefaan Depudt and Willem Vermandere.

In Debrabanderes work a constant variation will arise between the organic and geometric abstract sculptures with in between more synthetic statues as resting point. Debrabandere hewed his first sculptures out of cobbles. The interaction became from that moment on a conscious choice. That happy marriage between both forms leads Debrabandere to his other favourite topic: between strength and tension he also focuses on the sculpting rhythm.

Only in the rhythmical movement, the sculpture exceeds the concept. With Debrabandere, the idea doesn’t originate on paper, it arises during the hewing itself. To use the taille directe so faultlessly, the sculptor must know very well the possibilities and the limitations of the stone.

Debrabandere hews starting from an intuitive, rather than a well-considered attitude, although in many cases the result let us think the opposite. The absence of the apriori thought, the concept and construction planning, is one of the paradoxes when you are confronted with his sculptures.

Debrabandere is passionately found of sacred beauty. This is reflected in his choice of material: the white and black marble, the albaster and the limestone.

Here we witness the sculptured response to the past with its deep longing for beauty and harmony. It remembers the restoration of the paradise-like situation.

The geometric and organic-abstract choice is determined by his urge for sacrality. The sculpture becomes reflection, contemplation and meditation, this way it doesn’t want to be reminded to his rough and amorphous origin.

Debrabanderes sculpture becomes an answer of beauty tot the constantly growing aesthetic contamination that surrounds us. In their most intensive meaning they become ascetic figures, who by their tension radiate the passion for beauty. Effective intellect, a sharpened consciousness and precise self-analysis seem to be Debrabandere’s best trump cards in his choice between creative aesthetics and precise aestheticism.


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