Galerie Brons

Bronze sculpture at it's best



The nature of my work begins with it's inner soul, the naked truth.
This soul creates a form in my head, I see it completely. Each front has a rear, upper- and under-side, the whole has a centre of gravity and a balance. I do not try to imitate externalities, I place myself inside the subject and out of that arises an external. Hence that realism and cubism both exist in my creations.

I aspire to create a harmony of line and mass between space and volume. It must embrace light and claim the neighboring space. As soon as this process has taken place, the urge to create becomes irresistible. The apparent chance, controlled by me, is what makes my work succeeded or not. When I portray the human body, I don't only want a beautifull outer skin but to show the movement of the muscles under the skin. My surfaces must seem as if they have raised themselves from the inside out, into existence.

Sculptures that react to their surroundings, can no longer exclusively be considered as an object, they take on their surroundings and as a result are more than the material space which they inhabit. In my creations this is achieved by the polished bronze faces. Interaction between the onlooker and my sculpture was my initial purpose, searching for a subtle confrontation. That has however become a recognizable feature of my realistic animal and human sculptures.

I create a duet between me and my medium, I want to let the language of the wax speak, entirely exploit the freedom it offers and let it be visible in my work. A complete analysis of the materials used is essential for exploiting all the possibilities that it has to offer my sculpture. Therefore knowing how to chaste bronze and apply the chemical process of the patina (color) is equally important. That a bronze sculpture is first modeled in wax then cast in bronze, welded, grinded, chastened, sanded eventually colored makes it in my opinion the most complete art form, because all these separate processes must become a harmonious whole.

Even if a layman looks at an art piece then he/she can taste (feel) that it's not correct. Tracing this foul taste to the source is essential because then you can make changes to eliminate the cause. As an artist you must be able to make a critical analysis of your work and for that you need to take the time to look and be prepared to make drastic changes.
Like replacing whole components or leaving them out, until the final result is no longer possible to improve. A piece of art does not have be correct or preferably it should not be, it must however have an inner soul, write it's own symphony without false notes.