Jul 14

Jul 14 ARTIST SPOTLIGHT JOHAN GELPER

Art, Creative People, Culture, Interviews, Nature, Photography

Johan Gelper (b.1980) is an artist currently living in Ghent, Belgium who’s work is a synthesis of the natural with industrial and geometric elements with organic forms. The sculptures can be assembled and disassembled and each piece grows from the previous ones.

Since a young age, I have been making drawings and been creating things. In drawing, the idea that something can develop or grow from one simple line always fascinates me. In three-dimensional work, I like the physical relation to the space but the most important decision in the oeuvre I try to create has been to see drawing as a way of thinking.
Initially I was trained as a painter (2000-2004) but since then I mainly create sculptures, installations, and interventions. I also obtained a second diploma in the arts (mixed media: 2004- 2006) that focused on a more conceptual approach, specifically on the idea that visual disciplines are but the 'means' and not an end in themselves.
At first the intention was to see what happens in a still life, what different combinations of found materials could do. I discovered that, by looking directly in the space with materials, I could work more spontaneously, it eventually led to a personal visual language and something that changed in a very dynamic way. In sculpture space itself has a perceived quality. It relates to the surrounding space or architecture; one must move around to see it. A similar directness I have found in drawing, which is a constant trough my work.

Johan tell us about your greatest inspirations or influences please.

Nature, art, and poetry. I am interested in many different works of art and artists, for instance I always had a lot of admiration for Arte Povera where a minimal, most direct path has been mapped out.

I am also a fan of Naum Gabo's constructivism and his belief that sculptures should interact with the space around them. He rejected the idea that they should be static objects. But I just as much like very old art such as the paintings of Jeroen Bosch or Pieter Breugel the Elder.

Beside a fascination for nature, plants and biomorphic movements, I’m always interested in everyday things we don’t call art and I often work with found objects and things that have become superfluous. From there I often look for associations and personal links to art history. This involves image associations, combinations, and substantive references, often out of wonderment, but also from a certain (contemporary) context. For me the result must always be a kind of shift that creates something new in a more poetical way. Sometimes it's almost humorous when the most banal objects can be linked to art. In this way I try to work on a kind of continuous research or assimilation of experiences, looking to add new experiences in form, content, materials, techniques and means.

How are the current trends in technology and innovation affecting your work as a creative?

My work as a creative is analogue, in the present tense and trends do not interest me. I mainly work with found materials, experimenting independently of fashions in my studio, looking for good images in a personal visual language and always try to be careful with techniques in order not to pursue a formal style.

I do pay a lot of attention to photographing my works, which is digital and evolving technologically fast these days, but it is also ubiquitous. I photograph my own works, use a camera, computer, and smartphone, beside sketching and drawing, to document inspiration from art history or to study natural forms and everyday objects, but so far this has been mostly documentary, a way to reflect and select.

For instance: the whole process of photographing my own works from all angles, loading the photo, and selecting on the computer creates an interesting distance to look critically at which work is good enough and which is not. But in the end, everything arises organically. I never, or rarely work with a design. The final decisions and selections are always analogous, so it remains very important to experience my works physically in three dimensions.

We’d love to hear more about your creative process.

My creative process is a way of thinking where idea and result mostly coincide, so there’s no linear design-like method. Everything comes from an organic and cyclic process. Sometimes I describe this as ‘demountable spatial drawing’, the title of several in situ installations, but it might also be a metaphor for an inquiring and process-oriented method where each new work grows from previous works, often over a long period of time. I often work with found materials, both natural and manufactured elements, which can be very various and frequently In Situ. I look for forms that are open, for works that are present but not intrusive and for compositions that create a balance between abstract and figurative.

How did the pandemic affect your creativity or work?

During lockdowns I was drawing intensively, as a form of therapy.

What does wellbeing mean to you?

Wellbeing to me means caring for others, but also for yourself, for the environment, for the planet, for nature, a livable world, and context. It is the basis for living together in peace and harmony, mental and physical health, with good social relations, security, tolerance, freedom and peace of mind.

website: https://www.johangelper.com
Instagram: https://instagram.com/johan.gelper/
Facebook: https://www.facebook.com/johan.gelper

All photo credits: Ⓒ Johan Gelper