“Entre temps” is a series of four paintings in identical formats and backgrounds, with a modular display. The series is the result of a collaboration/performance mixing painting and dance with Chloé Santinacci. It all begins with a square shape traced on the floor, which will be the frame of the dance, so as to geometrize the movements on 8 axes. Solo then made a video recording of the solo danced and composed by Chloé, from 4 points of view equidistant from the center of the frame. He then projected these 4 videos onto the 4 canvases to recreate the multitemporality of the movement in paint. Different parts of the body, chosen at a precise moment in time, will be visible on the 4 canvases in order to make different elusive moments of movement coexist in the same pictorial space. The frame is set, the structure clearly defined, so as to offer spectators other angles of view. As if they were at the four cardinal points at the same moment. Different states emerge within this form. In this project, the body traces a path and attempts to adapt to the different spaces imposed upon it. Pictorially, it’s also a question of how to represent movement without the effect of speed. And how to permanently inscribe the ephemeral condition of dance.
Solo artist presentation Boris Loos, Solo artist from Brussels, born March 14, 1989 in Uccle. Passionate about painting since childhood, he is constantly fascinated by materials and creation. Bachelor’s degree in illustration and painting in 2012, and graduate of ERG, it was through these early studies that I began to work on technique and develop my own style, creation remains an outlet a necessity. Graduated from Sterling Quest school in Mexico in jewelry in 2014. My work first developed on paper for several years and it was later during my training that I became interested in painting. Since then, I’ve been working on both simultaneously, as I believe they are inseparable. During my research, I created a universe that reflects my vision of the world. I work mainly on the geometrisation of space. When I was very young, I had a break with realism. From one day to the next, it was impossible for me to reproduce an image based on simple observation. From then on, it was a continual quest to create an image that was as close and accurate as possible to my mental vision. This is the basis on which I create, compiling a succession of emotions through my characters and forms. I’ve created and been part of several collectives, including gangbangprod and the KoolKidsKlub, which I initiated with artist Zephyr. For me, collaboration and working with others is an infinite source of discovery and a very important driving force. I’ve also recently started working as an assistant to a sculptor in Forest, mainly in metal, as I needed to get back in touch with the material since my jewelry studies. In the near future, I’d like to create 3D pieces. I like the idea of opening up, liberating and compartmentalizing, working on oppositions. I see my work and my creations as one big unit. A universe in perpetual evolution, I imagine my work as a weft that never stops evolving and telling a story. Brief description of Solo’s work. In painting, I mainly create large-format, geometric shapes and characters flirting with eroticism and bodily movement, often disarticulated and set in colorful landscapes in nature or the city. As for drawing, I offer much smaller formats, as shown below, in A5 and larger. Various representations of characters and total abstraction of forms, in vivid colors but also in black and white depending on the different series. In drawing, I generally work in smaller formats. I work with more detailed perspectives and characters in environments that are often surreal and abstract. More and more, I’m experimenting with duality, seeking to constrain space, sometimes seeking to compartmentalize the space in which I can also find myself imprisoned. Between working with different planes in the represented image and constantly setting the structure in motion, the result always remains animated and dynamic. There’s a continual flow in my paintings, as if these shapes, lines and colors were circulating between them. Energy is channeled into this space, but it remains free, intersecting and superimposed yet autonomous. Some self-portraits appear in a corner of the painting or drawing, a sarcastic look at the situation or just a presence installed there in the frame. Some triptychs also reflect the continuity of a scene, in which the characters are anchored in an unreal universe, a universe often bordering on the themes of death and sexuality – these two impulses frequently intersect. The loneliness of the characters joins these different themes, and we usually see one or more individuals confronted with this, sometimes in a scenario often featuring battling men, sometimes simply in action, sometimes absurd or innocent. I see here the main intents and paths of my current artistic production, although several periods have revealed many other aspects in terms of both aesthetic research and substance.