Raymond Minnen

The work of Raymond Minnen (1950) is as absurd as it is realistic. His plaster sculptures occupy a place in a world that is based on reality but is at the same time far removed from it. In his work, Minnen uses fragments from everyday life which he assembles as separate elements into an imaginary world all his own. Since the seventies he has been constructing his own world, in which Snow White may find herself in the wrong fairytale or in which negroes can suddenly turn into white men. He knocks things together in a world where art and kitsch are not so far apart. The boundary between realism and fantasy is very thin and ambiguity is never far away.

Raymond Minnen gets his inspiration from the reality that surrounds him. This may comprise the most ordinary everyday objects, ranging from toys to bits of lamp-posts and from vege-tables to human figures. He then assembles them in a completely associative manner. He isolates them from their familiar context and then combines them. It is precisely through this technique of assemblage, which he has mastered perfectly, that he removes ordinary objects from their banality. On the other hand, and almost paradoxically, Minnen's works of art continue to preserve a powerful sense of familiarity which he achieves precisely because his starting point lies in everyday objects.

However, there is more than meets the eye in Minnen's work. What initially appears to be an ordinary plaster sculpture suddenly acquires a different meaning when the viewer discovers that things are not what they seem. Minnen's brain produces a bizarre fantasy and surprising humour. The best example of this is probably Toet-Anch-Ramôn, the name of his studio and gallery in Mol. - Katelijne Beerten


13.02 to 01.05.2005
13.02 to 01.05.2005
13.02 to 01.05.2005
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