Oil on board
Original size: 30 x 40 cm
Photographer: Anna Arca
Henny Acloque's paintings draw on old masters such as Bosch, Bruegel, Durer and Ibbetsen. Appropriating the work of dead artists, Acloque forensically unpicks and reassembles the layers of each image she works from. She talks about her paintings being "evidence of evidence of evidence". Her paintings speak of infinity, inferring that both the landscape and our ideologies expand and contract outside of the image (and the edges of a canvas).
In her latest series of works, Acloque subtly prises open collections (and collectors) to reflect on how our changing world finds new meaning in their legacy and how changes in society, culture, and the economy have radically reshaped the meaning of objects and our relationships with them.
Her recent paintings and works on paper draw on her family’s collection of auction catalogues, artist’s postcards and a book of Victorian fairy paintings, which all feature historical landscape painting, enabling Acloque's investigation into our relationship to nature, the transfer of knowledge (public, private, between artists), and the consumption of art and objects.
Eliminating all figurative elements from the original source material, Acloque enforces her own codes and systems to re-introduce 'characters' to the frozen worlds she paints. This instils a familiar, timeless quality to the works. Utilising the colour of a cloth from a figure in the source image, Acloque injects abstract swoops, jacquard patterns and strokes that wittily challenge and disrupt these fantastical visions.