Belinde De Bruyckere (2) : Schmerzensmann

The following is a quote from the press release for the artist's exhibition, "Schmerzensmann" (Man of Suffering) held in November 2006 at Hauser&Wirth London, Piccadilly.

"At First their shape seems familiar although their forms resist interpretation, offering a disturbing vision of fragility and suffering.
De Bruyckere's work is infused with ambiguity. The patterned woollen blankets that she incorporates in her sculpture not only symbolise warmth and protection, but also evoke fear, sickness and debilitation. Female figures made of wax crouch beneath their heavy burden, which threatens to suffocate as well as shelter."

Belinde De Bruyckere

A Belgian artist whose work I am going to investigate for elements of ' the uncanny ' in terms of visual art. Many of her work has been shown in Belgium, France and Germany. Her first solo exhibition in U.K. was held in 2006 at Hauser & Wirth London. The Saatchi gallery in London also has her horse sculptures in its collection.

Her work is, visually and conceptually, often focused on ' body ', which are placed in bizarre positions. Her figures usually have a body-case like look with "skin" that shapes the form of the human body. They may be seen as being decomposed or abandoned due to severely distorted shape, blueish colour of the skin or headless body hanging from wall/pillar. Her horse sculptures, a subject characteristic of her work, are life size casts covered with real horse skin.

There is a sense of the duality in her work, often paradoxical, of the emotional or physical conditions which she finds in the living bodies. Here is an article about the concept of her work.

Introduction to "The Uncanny"

The German psychologist, Ernst Jentsch wrote an essay in 1906, in which he identified and conceptualised the state of the 'uncanny' for the first time. Later the research was continued and the concept was developed by Sigmund Freud, namely in his essay "The Uncanny" in 1919. The original term in German "unheimlich" is translated as "unhomely".

The German word 'unheimlich' is obviously the opposite of 'heimlich' ['homely'], 'heimisch' ['native'] the opposite of what is familiar; and we are tempted to conclude that what is 'uncanny' is frightening precisely because it is not known and familiar.

( "The Uncanny" Sigmund Freud )

Jentsch and Freud both made a strong reference to the work of the German writer, E.T.A. Hoffman, as well as other important writers.
An architectural historian, Anthony Vidler wrote an essay in 1992, in which he explores "The Uncanny" effects found in literature, urbanism and modern and traditional architectures.

Key essays:

• "On the Psychology of the Uncanny" (1906) by Ernst Jentsch.
• "The Uncanny" (1919) by Sigmund Freud
• "The Architectural Uncanny-Essays in The Modern Unhomely" (1992) by Anthony Vidler

Stories mentioned in their essays:

• "The Fall of the House of Usher" by Edgar Allan Poe
• "On the islands of Jersey and Guernsey" by Victor Hugo
• "The Sand-Man (Der Sandmann)"
• "The Deserted House (Das ode Haus)"
• "The Deed of Entail (Das Majorat)" by E.T.A. Hoffmann