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19
Werner Watty, Kriek Kersvers Rood / Kriek...fresh...red, 60 x 50 cm (110 cm incl. stem)
" Kriek...fresh...red"
— Werner Watty
Werner Watty etches, draws and paints. Always in a way that arouses amazement, arouses admiration, intrigues and often elicits a smile. The saying that a good draughtsman is not or cannot be a good painter does not hold true if one looks at his oeuvre of the last fifteen years. After all, he excels in all three disciplines. His dry needles are graceful in their simple and perfect execution of line. His drawings stand out for their accurate sensitivity. His oil on canvas paintings, which are partly drawing-based and partly distinctly pictorial, display a warm and discreet virtuosity.
In the part of his oeuvre that could be described as painterly, reality and pictorial representation tumble over each other enthusiastically. Trompe-l'oeil is intense and frequently present, not a complex trompe-l'oeil, but rather one that has to do with simplicity, with a concrete experience of what is so commonplace that it has become as tangible as it is intangible, and that the fiction, being the drawn or painted work, flows seamlessly into reality and vice versa.
Werner Watty plays with reality and its antipode. He plays just as much with the thought that accompanies the image or the touch of the object or that is hidden in it. The image finds its extension, which turns out to be an additional identity, in the mischievous, the playful and often the penetrating and revealing of the title. The title turns what is depicted into a figure in a playful display, a being with at least a double existence. Throughout his entire oeuvre, duality thus in fact gets to play a somewhat more than double role, acquiring a meaning that is broader than the image and its name, than the depicted and its first flash of recognition.
What is remarkable in Werner Watty's work is the harmonious combination of what appears to be playful and surprising in word/title and image with the refinement, the marvellous purity and wit of his formal language, his linear display, his delicate pictoriality. He places a twig on a canvas, on a snow-white surface and defies the viewer, in the sense that the viewer is tempted to touch it, to feel where reality and fiction meet and leave each other.
Dry twigs with delicate buds, plants, flowers, a flower pot with or without a plant and, by turns, the tangible reality and its meticulous visual representation. In some cases, reality and fiction, object and its image, occur simultaneously and the transition between the two has become a playful and almost constant tour de force. Fundamental to the special aura that his paintings possess is the realistic and virtuoso rendering that approaches or simply achieves fine painting, but in a completely individual way. A fine painter often aims at arousing a surprised admiration because of the refinement of the often static, austere and impassive juxtaposition of elements that carry each other's shadows and bear the reflection of the nearby object (bottle, glass, copper plate, mirror) on their flanks. Watty's fine painting is of a different order. His still lifes are alive, one might say, and they smile or laugh however much they are still lifes. Does this sound paradoxical? If so, the explanatory paradox lies in the fact that he places and portrays all his creatures and characters as parts of a perfectly painted still life, but at the same time entrusts them with a function other than that of a complacent part of a static still life. Finesse, inventiveness and humour are indeed dominant elements in his oeuvre of the last few years.
The often playful undertone that Watty gives to his scenes personifies their appearance. Two sanseverias form a double portrait, like that of a couple enthroned in front of the photographer on the occasion of an anniversary: one quietly looking ahead, the other with a red flower in its hair, that is, with a red bow around its body of pointed and hard green shoots.
Matches escaping from a box are playful insects, creatures with a crimson head and a tight body. A strange and virtuoso painted scene where again the title or call it the accompanying text creates an additional spiritual dimension. His flower pots look like portraits of a numerous family or a series of mayors in a council chamber in which each member or each mayor revels in his detailed individuality. Willow twigs with one or more timid downy heads or buds are monuments of grace and tangible presence that, incidentally, in his recent works in stoneware and charcoal on canvas, develop a new sensibility that we will dwell on for a while.
September 2014 Hugo Brutin (a.i.c.a.) (source: www.oostende.be)
More info about Werner on his website: http://www.wernerwatty.be/
This sale is a realization of Rotary Club Aalter within the context of the 20th Biennale of Contemporary Art. More information on their website: https://www.dekers.online/20cherries
— Werner Watty
Werner Watty etches, draws and paints. Always in a way that arouses amazement, arouses admiration, intrigues and often elicits a smile. The saying that a good draughtsman is not or cannot be a good painter does not hold true if one looks at his oeuvre of the last fifteen years. After all, he excels in all three disciplines. His dry needles are graceful in their simple and perfect execution of line. His drawings stand out for their accurate sensitivity. His oil on canvas paintings, which are partly drawing-based and partly distinctly pictorial, display a warm and discreet virtuosity.
In the part of his oeuvre that could be described as painterly, reality and pictorial representation tumble over each other enthusiastically. Trompe-l'oeil is intense and frequently present, not a complex trompe-l'oeil, but rather one that has to do with simplicity, with a concrete experience of what is so commonplace that it has become as tangible as it is intangible, and that the fiction, being the drawn or painted work, flows seamlessly into reality and vice versa.
Werner Watty plays with reality and its antipode. He plays just as much with the thought that accompanies the image or the touch of the object or that is hidden in it. The image finds its extension, which turns out to be an additional identity, in the mischievous, the playful and often the penetrating and revealing of the title. The title turns what is depicted into a figure in a playful display, a being with at least a double existence. Throughout his entire oeuvre, duality thus in fact gets to play a somewhat more than double role, acquiring a meaning that is broader than the image and its name, than the depicted and its first flash of recognition.
What is remarkable in Werner Watty's work is the harmonious combination of what appears to be playful and surprising in word/title and image with the refinement, the marvellous purity and wit of his formal language, his linear display, his delicate pictoriality. He places a twig on a canvas, on a snow-white surface and defies the viewer, in the sense that the viewer is tempted to touch it, to feel where reality and fiction meet and leave each other.
Dry twigs with delicate buds, plants, flowers, a flower pot with or without a plant and, by turns, the tangible reality and its meticulous visual representation. In some cases, reality and fiction, object and its image, occur simultaneously and the transition between the two has become a playful and almost constant tour de force. Fundamental to the special aura that his paintings possess is the realistic and virtuoso rendering that approaches or simply achieves fine painting, but in a completely individual way. A fine painter often aims at arousing a surprised admiration because of the refinement of the often static, austere and impassive juxtaposition of elements that carry each other's shadows and bear the reflection of the nearby object (bottle, glass, copper plate, mirror) on their flanks. Watty's fine painting is of a different order. His still lifes are alive, one might say, and they smile or laugh however much they are still lifes. Does this sound paradoxical? If so, the explanatory paradox lies in the fact that he places and portrays all his creatures and characters as parts of a perfectly painted still life, but at the same time entrusts them with a function other than that of a complacent part of a static still life. Finesse, inventiveness and humour are indeed dominant elements in his oeuvre of the last few years.
The often playful undertone that Watty gives to his scenes personifies their appearance. Two sanseverias form a double portrait, like that of a couple enthroned in front of the photographer on the occasion of an anniversary: one quietly looking ahead, the other with a red flower in its hair, that is, with a red bow around its body of pointed and hard green shoots.
Matches escaping from a box are playful insects, creatures with a crimson head and a tight body. A strange and virtuoso painted scene where again the title or call it the accompanying text creates an additional spiritual dimension. His flower pots look like portraits of a numerous family or a series of mayors in a council chamber in which each member or each mayor revels in his detailed individuality. Willow twigs with one or more timid downy heads or buds are monuments of grace and tangible presence that, incidentally, in his recent works in stoneware and charcoal on canvas, develop a new sensibility that we will dwell on for a while.
September 2014 Hugo Brutin (a.i.c.a.) (source: www.oostende.be)
More info about Werner on his website: http://www.wernerwatty.be/
This sale is a realization of Rotary Club Aalter within the context of the 20th Biennale of Contemporary Art. More information on their website: https://www.dekers.online/20cherries
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October 22, 2021 10:00 AM CEST
Bruges, Belgium
Carlo Bonte Auctions
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