Pierre de Peet, pastel sec sur papier. Atelier Créahm-Bruxelles (B). Collection Trinkhall museum

La fabrique des images - Pierre De Peet | Trinkhall museum

Opening night: 23 SEPTEMBER 2021
Exhibition: 24 september > February 2022

Pierre De Peet (Anderlecht, 1929 – Oudergem, 2019) is one of the Créahm workshops’ leading artists. He regularly spent time in the Brussels workshop for almost thirty years, from 1990 until his death in August 2019. Coming from a relatively modest background, his fragile health meant that school was inaccessible to him. He helped out in the fields, as he explains in his autobiography – “digging up beetroot with a spade and, afterwards, a farmer would collect them with a horse and cart” – and then joined his brother in the family baker’s, where he worked as a labourer for several years. In 1988, he was taken in by “Les Chataîgnes” shelter in Woluwe-Saint-Pierre. He lived there for the rest of his days. In August 1990, at the age of 60, he joined the Brussels Créahm workshops. There he gradually developed a very intense Fine Art body of work, including drawings, paintings and etchings. Perfectly sound strokes, intelligent use of colour, narrative direction and standout poetry are the main elements of a pictorial language which often displays the most tragic dimensions and continually speaks to you in a soft and tender way seen nowhere else.

Every image has a model from which he takes his inspiration, resources and mediums. Every image is genealogical. During the last thirty years of his life, Pierre De Peet leafed through magazines and art books, trundling through scattered images, emotions and events, weaving his way through a selective chronical of life in its current state, for better and sometimes, for worse, people and bodies grasping the simplicity of existence, like a mirror image of our own pain and hopes. Such is the incomparable power of these images: the different way in which they are executed - still taking great pains to be meticulously faithful with absolute respect for their models - is not down to just simple movement of the creation or some kind of heavy-handedness, it is well-developed, successful and, at the same time, ascetic. It the image of the model, the unbelievable transformation of representation, his flight, his transfiguration, his freedom recaptured by the operation of his extremely fastidious gesture of replication.

Today, Pierre De Peet’s accomplished body of work is a wonderful illustration, a book of hours of visual emotions patiently, modestly and wilfully assembled by the artist at his work desk. He is inhabited by grace, the pure joy of drawing and colour, thus he has a view of the world which is both uncompromising and extremely gracious. But is it a view in the sense that the word view usually means a way of reading, of perception or interpretation? It is more of a manner of existence: Pierre De Peet (thankfully!) does not give away anything to read or understand. In his hut, without words, without science, even without any form of intention, he achieves the silent inadequacy of Simplicity which gives rise to the power of rebellion like a wave, from its origins and the entire history of Western mysticism.

Pascal Tassini - © Muriel Thies - Trinkhall museum

Emportés par la foule... - Pascal Tassini | Trinkhall museum

Opening night: 23.09.2021
Exhibition: 24 september > February 2022

After over a year of silence, the crowds are back. In airports, at stadium exits, in shopping malls. Crowds of expressions and bodies inflamed by the same emotion. Will life ever be normal again? Do we already yearn for silence? What forges the everyday experience of our dreams? What is the meaning of the word “enthusiasm”? What common desires drive us? What tramples on the feet of the crowds in which we find ourselves? What are we crushing? What is the state of our expectation? Of our despondency? We have many crowds gathered in our memories. The crowds of tortured bodies in concentration camps and jubilant crowds on Liberation Day. Crowds are multiple experiences of loneliness. They express the privilege and distress of existence, the pleasure and the pain. We are one and we are multiple. A crowd is always grieving, even over its next separation. We are deserted and we are part of a crowd; we are the silent voices of the age-old crowds in which we gather.

Today, Pascal Tassini’s statues are out in their crowds at the Trinkhall Museum; multiple examples of loneliness gazing at us in silence and most intimately refracting our modest, relentless transformations.

Pascal Tassini (Ans (B), 1955) spent time at the Créahm workshops for more than twenty years, from 1966 to 2018. He developed an extraordinarily rich polymorphous style – drawings, paintings, terra cotta sculptures and bunches of knotted material for which he is now famous, relentlessly cobbling together shapes, substances, existence. This is an example of constantly moving art, relatively indifferent of its results. Tassini is a forager and creates wonders out of fragments he finds here, there and everywhere, scattered amidst the chaos of the workshop – a combination of impatience and reliability in the ad libitum repetition of the same movements and traditions. Art is all-absorbing. You arrive in the morning, leave in the evening, and, so it continues; day after day, week after week, year after year. The key to happiness. Pascal Tassini is an expert in existence. Should he take up residence? Inside the workshop, we will build a hut where he can keep his belongings and accommodate his friends, or also accommodate his patients in the role of healer. Doctor Tassini is at the centre of a world that has slipped out of his hands. Should you get married? Yes, of course. Because love is the be-all and end-all of any fulfilled life. So, you’ll make wedding dresses, headdresses, tiaras, formal suits. You’ll put flowers in your buttonhole, you’ll wear splendid attire, write love letters, exchange rings. You will be the groom and you’ll go to the bride and, soon, you’ll be holding her hand and then kissing her. Existence is so sweet and separation so sad! But, fortunately, your friends are there, modelled out of clay. The crowd of friends, multiplied by the infinite gesture that creates them, the movement of fingers and the handprint left on the ground, giving them their movement, their life, their depth, their texture, their brightness, their story. They just need to be placed on the shelves in the hut or carefully arranged in drawers and boxes. The statues are mostly small in size. There are enough resources in the workshop to make them. Pascal Tassini’s Stics have taken up space there for years. But sometimes, the statues are enormous. So then, we will bake them in a purpose-built oven between the museum and the bandstand in the Parc d’Avroy. It will be a festive occasion, like in the past and the present, according to all traditions; a bonfire lit long before night time, a joyous installation without memory or restriction; tumbling flames and a glimpse of silhouettes. Life is so beautiful and art is so pointless! Pascal Tassini’s statues are both so similar and so different. They are constantly moving, advancing through the crowd and they carry us away most brilliantly from the condition of existence.

Ronny Mackenzie, pastel, fusain et crayon sur papier, avant 1998. Atelier : Project Ability, Glasgow, Écosse (GB).

Faces/borders - at the Trinkhall Museum



The first season of the Trinkhall is devoted to the theme of the face. The collection offers an extraordinarily diverse and deeply moving illustration of this - as if, for forty years now, the very question of identity has been freely unfolding within the refuge of workshops. The images and sculptures in the collection seem to travel through the entire history of Art, haunted, from its origins to the present day, by the portrayal of faces. Yet the exhibition does not depict the face in its absolute or most commonly celebrated form, but focuses more on its full interrogative range. The faces in the collection transcend the boundaries of identity. They fade away, split, tear apart, interlock or multiply. They are one of many elements, witnessing fragile and fragmented, anxious or jubilant existences, carried away in the perpetual movement of their own environments. What is a face? What is being yourself? At the heart of the museum, the faces in the collection - by Inès Andouche, Antonio Brizzolari, Mawuena Kattah, Pascale Vincke and many others - interact with an overmodelled skull from New Guinea - Papua New Guinea - a Rembrandt self-portrait, a DIY figure by Louis Pons, lithographs by Bengt Lindström or James Ensor… We have also invited contemporary artists who use images to address the issues raised by the faces in the collection. Thomas Chable, Hélène Tilman, Anne de Gelas, Dany Danino and Yvon Vandycke all take part in the museum's collection, each submitting pieces that relay the theme of the face. Finally, exhibits from the Créahm, specially designed and produced for the museum opening, are very much in keeping with our continually thriving art workshop approach. The Face/Borders exhibition is something of a device enabling us to feel, experience and ponder the dizzying heights of identity.

“While lying on the tall, heavy, terrestrial grass, have you ever considered the clouds whirling by? Plump ghosts or, higher up, sails stretching out into a smile… The sky is populated; populated by floating faces, multiplying. Initially dispersed, but rapidly in abundance and still emerging vividly and undulating.

Not all of them are identical, but they are alike. They are forward-facing, mobile, unpredictable, exuberant, lacking in depth, body and colour. They are crowding one another. They appear to come from an active, anarchic generation which proliferates and engulfs. The sky is populated by faces silently shaping solitude.” (Lucienne Strivay)