Marc De Corte

1974, Ghent (Belgium)


What makes bronze statues unique and so sought after by art lovers is the movement they radiate. De Corte likes to be inspired by modern dance, but there is also a very strong Art Nouveau influence. The result are graceful images with balance as the main theme.

In addition to a classical and more romantic language, De Corte does not shy away from modern issues: his works are characterized by distance and the desire for contact within the context of a pandemic, the independence and strength of women, the search for an own identity in relationships. with others, and maintaining mental balance as one of the main challenges for every highly questioned individual in our society today.

De Corte proves in his work that classic and contemporary can go together perfectly. He therefore regrets that modeling is increasingly receding within contemporary art education. De Corte's images arise from a quest for beauty, and because they have to come from his heart.

About Marc De Corte

Marc De Corte (1974°), one of the artists of Down to Art, started creating when he was barely 5 years old. His parents quickly realized that they could please him more with tape and cardboard boxes than with the toys inside. In 1997 he obtained his Master's degree in Visual Arts at Sint Lucas Gent. Since then, he has devoted himself full-time to developing his own visual language. Marc has always had a passion for fascinating people and stories, unprecedented techniques and forgotten quality. His works arise from a fascinating synergy with other artists and technically sophisticated craftsmen. These building blocks helped him grow from the 'dreamer' of his youth into one of the few anatomical-figurative promising artists on the Belgian, and even the European sculpture scene.

Artistic resume and press

"Simply put, it can be said that 'Mankind' is the central theme of Marc De Corte's images. If one were to leave it at that, however, this would be an unauthorized simplification.

This statement can be illustrated by the following image: Marc's images are like looking at the water surface in which man is reflected. Marc De Corte doesn't stop there, he doesn't stay on the surface of the water, but dives into the depths, causing the image to tremble, distort and take on a different shape. The theater of the apparition is broken. The mask bursts and reveals fragments of the inner man.

How are these images "constructed"?

In the very tangible works, the absence of a background is not a loss, but it enhances the power of the image. The language of the performance is dynamic, nervous and erratic. The narrow, surreal color spectrum and the diffused light reinforce this impression. This denial of a clearly defined background removes the depicted figures from any notion of time and space. They seem to float in thin air. The background here acts as the whimsical and shadowy bune that the depicted figures need and through which they acquire their intensity.

The contrast is carefully balanced: a fruitful limiting lies in the emphatic emphasis on speaking parts of human physiognomy, usually the eyelids as a mirror of the soul, or the mouth. They stand in contrast to their environment and refer to Marc de Corte's psychologized view of man. The focus on specific anatomical parts also narrows the view of the viewer. An intensive dialogue is established between looking and being watched. A look into the soul of a stranger who is so familiar to us, man as such. As spectators we seem to be chance witnesses of events that are familiar to us from everyday life, but of which we know that behind the fassade lies a deeper undefined reality.

In this contrast of revealing and hiding lies the source of a certain field of tension in the images shown. The feeling of being in a very fragile state and the fear of disturbing a certain balance strikes. This cannon remains intact: Marc De Corte does not need tricks: he is able to create simple representations of complex movements that in their essence are reminiscent of cartoons. We become witnesses of ourselves here as spectators."

Oliver Czarnetta - Doctor of Art History - Master in Fine Arts

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