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Walter Leblanc (1932-1986)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more
Walter Leblanc (1932-1986)

Mobilo-Static (Twisting Strips 9)

Details
Walter Leblanc (1932-1986)
Mobilo-Static (Twisting Strips 9)
signed 'walter leblanc' (on the reverse); with artist's labels 'a real walter LEBLANC mobilo-static TWISTING STRIPS 9' (on the reverse)
polyvinyl on aluminium and masonite
122 x 122 cm.
Executed circa 1960-1961
Provenance
OFFA Gallery, Knokke-Le-Zoute.
Acquired from the above by the present owner.
Literature
N. Leblanc & D. Everarts de Velp-Seynaeve, Walter Leblanc. Catalogue raisonné, Ghent 1997, no. 325 (illustrated, pp. 54, 177).
Special Notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
Sale Room Notice
Please note that the medium should read: polyvinyl on aluminium and masonite.

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Lisa Snijders
Lisa Snijders

Lot Essay

Around 1959-1960 Walter Leblanc introduced the Torsion, which would become the key element in his work. Like many contemporaries he was researching the limitations of art, freeing himself of artistic conventions, and creating a new form of aesthetics. With fellow Belgians Paul van Hoeydonck and Jef Verheyen, Leblanc participated in almost all Zero exhibitions. Whilst the possibilities for using the torsion in sculpture seem obvious, Leblanc was more interested in adding a new dimension to painting. By twisting the visual element he created a new dimensionality. Leblanc's first torsions are made of twisted strings laid down on canvas. By changing the pattern of these strings the rendering of light creates contrast in the monochrome pattern fields. The impact of the shadow of the relatively thin wires is intense; the tonality of the white in the different areas of the canvas differs strongly. In this way his work is comparable to that of for example Jan Schoonhoven, who is also mainly interested in the effect of light and shadow on his monochrome white reliefs.

From 1960 Leblanc makes the Torsion more three-dimensional by using lamella shaped strips. The image plan is divided into vertical polyvinyl ribbons, turned around itself. The colour sheet is so thin that the materiality of "painting" is not even evoked. The materiality is only suggested by the torsion motion. (Eva Wittocx, Walter Leblanc, Ghent 2001)

Where Lucio Fontana created a new dimension by deconstructing the canvas, Leblanc is rather building depth in the flat square. The transparency, weightlessness and spatiality of the plastic strips gave Leblanc the opportunity to investigate the possibilities in creating the unmeasurable, the undefined and infinite.

Amongst Leblanc's first torsions there are two entitled Anti-Peinture (both dated 1960), which clearly reflect his idea that the the two-dimensional art work is not limited to painting only. The exhibition of Anti-Peinture in Antwerp in 1962 showed, next to Leblanc's work, the 'researches' of Piero Manzoni, Martial Raysse, Rafael Jesus Soto as well as Dutch and German Zero Artists. This exhibition was a very clear reflection of this pivotal momentum in the change of art history. Dated circa 1960-61 the present lot is one of the first polyvinyl works by the artist, one of the three first large scale works from this period and the only one from this period still in private hands.

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