Introducing the art of Hildegarde Handsaeme (Interview)

HILDEGARDE HANDSAEME

DESTIG TORONTO - ART | DESIGN | TRAVEL - ISSUE 09 / JANUARY 2021

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"HOW MARVELOUS THAT THEY BROUGHT FORTH SUCH MAGNIFICIENCE FROM THEIR BRUSHES AND CHISELS." - ANONYMOUS

"My ideas begin by drawing a line and then creating the image of a woman... A woman’s image offers through her curves so many possibilities that it is always exciting to display them in a new way. The lines develop further into a harmonious entity and balancing the right colors is a quest that brings great satisfaction."

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An abstract geometric artist with a focus in female

Give us a summary of your background and history.

figure, Hildegarde's work is easily identified in

Born in Kortrijk, I now reside and work in Terlanen (S.E.

collectors' circles, a result of her intuitive development

of Brussels). With an articulate preference for the figure

of her artistic practices. Her work is known for its

and the nature of woman I went the self-teaching route

clear, sharp lines, and combination of geometric and

in the plastic art form. The sensitive approach of this

organic forms.

theme remains my source of inspiration which is utterly inexhaustible.

Hildegarde is a master of color combinations and application, accomplishing harmonious and evenly flat

When I was about 6 years old, I saw the work of Picasso

areas of color that bring balance and a different

for the first time and found it breath-taking! I could look

dimension to her paintings. Hildegarde's paintings

at his line drawings for hours. I was full of admiration for

showcase her infinite quest to accomplish the ultimate

how he created an entire drawing with a simple line,

harmony as well as her love for the woman figure and

leaving behind the unnecessary—dissecting figures, and

human relationships. She has more than 35 personal

then putting them back together in a dissociative way. I

and group exhibitions around the world from Belgium,

found his use of color fantastic and his addition of

to the USA, Netherlands, UK and France.

ornamentation brilliant. It kept fascinating me. At the

distribution. He was amazed that I had developed my own style so early and that this only occurs with very gifted artists. He let me know that my style would evolve and today I am no longer asked to sign my work as it is so recognizable. My first exhibition outside of the academy was a great success. And so I continued...

Share with us some insight into your process.

My inspiration comes from myself. My ideas begin by drawing a line and then creating the image of a woman.

But I want to distance myself from the realistic images of women; it has become a game to find new curves and to embellish them. This creates something completely new, recognizable yet abstract. A woman’s image offers through her curves so many possibilities that it is always exciting to display them in a new way. The lines develop further into a harmonious entity and balancing the right colors is a quest that brings great satisfaction. I never work with a model. This way of working also extends to animals, musical instruments and certainly when I can add a feminine touch.

age of 16, I was in the same class as the son of a local artist and I always thought of what must his father be—a happy man! Much later, when I was 32 years old, I created two big drawings out of boredom; at that time I was alone at home. Of course, I did not think they were good and certainly not presentable to the world. My husband found the drawings and presented them to a friend who had studied plastic arts. She could appreciate the works and advised me to continue. I started taking classes at the Academy of Visual Arts in Overijse.

Although the artistic chord had been touched, it was not the intention to come out with it at all. In 1993, to my great surprise, I found my name in a list of artists who would exhibit at “Kunst in Overijse”. I called the Cultural Center to point out that mistake, but they had indeed received a registration in my name that apparently had been secretly submitted by my then 11-year-old daughter Charlotte. During that exhibition I was noticed by an “Eminence Grise” in the art world who advised me not to continue at the academy. He claimed that my style would be destroyed. He said I had a special way of drawing and also that I had a perfect balance of color

"When a spectator looks at my work, I would like it if he could take the necessary time to reflect on it."

How do you want your art to impact the viewer?

When a spectator looks at my work, I would like it if he could take the necessary time to reflect on it.

Some of my works seem very simple and yet it is precisely those works that were perhaps most studied to put the line in the right place. During analysis you can notice that a line stops somewhere and then continues in another part of the painting. Actually those lines are somehow connected to each other either as a continuous or as a parallel line. I myself have fun when I have managed to incorporate this in my painting or drawing.

Share with us some reactions to your work.

People say that I have a very personal style, that the recognisability is very good and that it actually does not require a signature. That the choice of color is good and that the whole is there, even when looking at the work from different angles.

It is nice to learn that when my work is discussed by a buyer, and this is what several buyers say, the longer they view / study the work the more they appreciate it, the more they prefer to see it and discover something new in it. That the work never gets boring. In addition to that question, a few art critics wrote the following about my works: “Hildegarde Handsaeme paints mainly women and follows a harmonic and constructively perfect pattern.

The figure in itself is dominating but she knows how to put it the right surroundings where nature and cosmos play a symbolic part. With a set of straight lines she builds a mysterial haze of inner feelings on the canvas in a simple but penetrative way. She does not call for hallucinating images bet lets herself go with sensitivity guided by an unfailing intuition. Even when the figures at first sight seem distant they point to a certain duality and yet her usage of colours express a honest alliance between the data and the deeper thoughts. -

"People say that I have a very personal style, that the recognisability is very good and that it actually does not require a signature. That the choice of color is good and that the whole is there, even when looking at the work from different angles."

"I think it is very important to work with the best quality products.

Since the line formation is optimally present and the color areas form a balanced whole, the use of tight canvas is necessary to accentuate this."

Simply and honestly Hildegarde gives us the

means she gets by her own way from

message of love and tenderness which should

background into focus so one can say

be shown to each individual. In a pictural

without looking at her signature that her

equilibrated and harmonic way she knows

personality is clearly there. Her work is very

how to remind us of the glamorous intuition

personal and shows that art in se has no

of woman. (F. De B. 1997).”

boundaries, is not subject to strict laws, is unseizable and difficult to put into words

“Hildegardes work presents such an original

(E.BOON).”

form and content that it is difficult to classify her in a painting school or to compare her to

What attracts you to your preferred

an eventual equal painter. Only gifted artists

mediums?

succeed to be independent from the start

I think it is very important to work with

and grow gradually to a recognisable style.

the best quality products. Since the line

This is utterly rare. As a red thread

formation is optimally present and the

Hildegarde's personality runs through her

color areas form a balanced whole, the

works which show us a very characteristic

use of tight canvas is necessary to

world. She seems to know always what she

accentuate this. That is why I prefer the

does and why and she leaves nothing to fate.

professional linen from Artel as a canvas.

her work is as she meant it and what she

These fabrics use an additional aluminum

frame so that the fabric retains its tautness even above a heat source. The acrylic paint also meets the highest requirements. Because each color area consists of several layers, I like to use acrylic paint because of the short drying times. My ink drawings are made on grainy 300gsm Arches or Canson paper. When shipped, the drawings are protected with the necessary material

"Art is a universal language. I also notice this in that my work has spread across all continents. There is more; art transcends the world because it takes people to new impressions, new unworldly places."

and are sent flat so that no creases occur and the works can be framed flawlessly.

What do you feel when you are creating?

work, there is a good chance that I will succeed in one

When I start a new work I don't always know what the

go or… a completely new drawing will arise. The will to

end result will look like. I make a small rough sketch on

create a good drawing is very dominant and

a sloppy piece of paper looking for a useful line. I then

challenging.

work this out further until I have an acceptable whole that looks good. Sometimes I manage to transfer it

What are your views on the role of art in today's

effortlessly enlarged to canvas. But sometimes I don't

world?

succeed at all and it is rather a battle with the canvas.

Art is a universal language. I also notice this in the fact

It is best to let the canvas rest a bit. When I resume the

that my work is already spread across all continents.

But there is more, art even transcends the world because it takes people to new impressions, new unworldly places. It creates a relief, a resting point, an emotion or a dream. It colors the sometimes colorless life.

How has your art practise evolved over your career?

I started with frequent participation in art competitions and group exhibitions. Afterwards, more and more individual exhibitions and exhibitions in galleries followed. Today I focus digitally. For several years, many specialized art sites have been active on the internet. Of course it is a search for the artist to find the right platform, as one art site presents itself more as a shop window while the other art site promotes more the work of the artist. In any case, the internet is a wonderful medium to increase the visibility of art and... it is a gift that the art-loving public has also embraced for it's digital possibilities.

How has the COVID-19 pandemic affected your creative expression?

As a result of the Covid-19 pandemic you spend more time at home. You paint and draw more than usual. You have the urge to look up more online. You discover new possibilities to distribute your art virtually and you go deeper into it. This will lead to new online galleries in which you will immerse yourself in order to know how these new sites work. In this way you will become acquainted with new possibilities that can be useful in making your art known. www.hildegardehandsaeme.com www.facebook.com/hildegardehandsaeme www.twitter.com/Hilde_Handsaeme www.instagram.com/hildegarde_handsaeme_artstudio wwww.nl.pinterest.com/hhandsaeme/_created/

"I started with frequent participation in art competitions and group exhibitions. Afterwards, more and more individual exhibitions and exhibitions in galleries followed. Today I focus digitally."