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The evolution of Dehné drags that origin of the manufacturing world, the assembly, the The creations of Lance Dehné are in the bifurcation of two ways, as if by force of will, the artist stopped in crossroads between the abstraction and the figurative thing. It is not indeed an adverse confluence. Those affluents give to the river the might of their waters. The expressive strength of its art is in the permanent transition, in the mixture, that keeps a close relationship with its successful creative trajectory. Dehné offers to us more than an impulsive explosion of colors. structuring in pieces, as if the whole had to be articulated in parts that are connected with others. Only which the artist leaves the rigidity of the mechanical form, to offer a tactile reconversion to us, of smooth lines, undressed of the harshness, the solidity and the coldness of the metal. Bodies of color that are suspended weightless, that floats before our eyes, because the dominion of the light capriciously reigns in the form causing a lightness and liviandad sensation. Figures that float dancing, stripped, independent. Perhaps an enigma, a disarmed puzzle, a synthesis, an irrealidad. The sample of Lance Dehné in the gallery Color Elephant, in Valencia, Spain, had a welcomed singular. It was not an accidental fact. For an artist, whose work is marked by painters like Kandinsky, Dali, Watched, Leger and Picasso, that contact tasted of an enriching encounter. An acid test which it left windy and convinced of his authenticity.

Lance stays faithful to its poetic commitment, to a personal style that distinguishes to him of other contemporaries. It comes from the attachment to an experimental freedom that allows him to enter itself in the colindancias of the abstraction and to articulate assemblies you multiform on the neutrality of the plane. Dehné has been seduced by a light spilled in the space that is able to handle at will to cause new sensations. The artist uses like support of his flat old paintings, that does not hide nor silences. He lets them visible in trasfondo to contextualizar those sensations caused by a choreography of forms, that make of their work a always functional and aesthetic set. Perhaps to retrotraer us to its origin, to the world of engineering, the precise calculation, the exact form, by which once he journeyed. Perhaps like a simple reference to recompose that inasible geometry, of forms that cannot be measured nor be calculated. Or to say to us that the perfeccionismo of the form is possible in another level of the reality or the subconscious mind. Or that the intuition and the creative freedom are superposed with more force to the scientific objectivity

In the post-mechanical world of Dehné, the imagination of the man can sail in deep seas, fly in the infinity of the space, be grouped or be disturbed at will, to put out of order the logical cotidianidad, although it conserves voluntarily, like a constant, the signs of the mechanic and the physicist: the pins, the wheels, the grooves, the furrows, the weights, the pulleys. This universe leaves the fastenings and it is proclaimed imaginary and lírico, poetic and substantial, cosy and inasible, able to contribute to the abstract images a escultural quality. In its interest by the dominion of the form and the color, Dehné confesses not to keep respect some by the declaration or to the representation. It does not interest to him to suggest no object in individual. In fact, their paintings as soon as they conserve referring, are undressed of nexuses and direct suggestions, which makes its creative boldness more convincing?

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