Fabeldier 1969

Editor: This is Eugene Brands' "Fabeldier," painted in 1969, likely using oil on canvas. It has a primal, almost cave painting quality to it. What do you see in this piece, beyond the immediately striking composition? Curator: Ah, yes, “Fabeldier,” a 'mythical beast' indeed. To me, this isn't just a painting; it's a glimpse into the playful mind of the artist. Notice the bold use of colour, the fluid lines - it's pure, unadulterated expression! Do you get a sense of movement? The brushstrokes almost dance across the canvas, creating this feeling of something being born or transforming before our very eyes. I almost feel I've walked into one of his dreams; do you see what I mean? Editor: Absolutely, there’s an energy that leaps out. I see the movement you're describing and a sense of raw, unbridled imagination at work, like he's letting his subconscious run wild, unrestrained, like child's painting. It evokes primal imagery, the animal form. Did Brands associate this period in his practice with those subconscious motivations? Curator: He definitely did, like a jazz musician improvising. I mean, Brands was a part of the CoBrA group, wasn’t he? The CoBrA artists aimed to tap into that wellspring of primal creativity and almost pre-rational experience, you know? Look closely at the juxtaposition of black, white and red... what does that make you feel? It creates a certain visual tension, almost opposing forces. Editor: It feels like a struggle, maybe a balance between light and shadow, darkness and vibrancy, definitely unsettling, almost spiritual in the broadest sense. What did he hope viewers would take away from his approach, from tapping into such a raw, personal space? Curator: I think that Brands would urge viewers to feel, not to overthink. This isn’t about intellectualising a concept, this is an immediate call, almost visceral, to one's creative heart. It's pure Brandsian magic! I learn more each time I study his work, always fresh, honest and full of childish joy. Editor: That's true, it certainly invites a childlike view of creation, full of the energy and unformed imagination. I’ll remember that freedom when viewing expressionist work from now on!