ABOUT

Belgium, 1999

Lives and works in Ghent - Belgium

Arno grew up in Oostham, Limburg. He studied at various secondary schools and graduated in industrial art (product design) from the Hasselt art academy in 2019. Afterwards he started his fashion education at the Royal Academy of Fine Arts of Ghent, where he obtained his bachelor's degree and moved on to the sculpture department.

 

Arno's work consists of a personally interpreted re-objectification of existing organic and raw mechanical elements, forms, language and images. This happens in sculptures, transmutative drawings, fashion and poetry.

 

He creates an escapist counterworld that opposes the here and now in an attempt to reach the future by using the past. This world consists of things that we find banal or ugly in reality, but which can become interesting or beautiful if they are presented artfully, if we dare to approach them differently than learned and thus go against standards. They are irregular, rough, weathered, incomplete, stunted and dare to go against beauty standards. However, the "experience of ugliness" or experience of what we know as "not correct" is specific and separate from the experience of beauty. It is not the ugly itself that we react to with rejection or disgust. Aesthetic appreciation, the ability to find and name something ugly, already involves processing and controlling primary emotions and reactions that precede aesthetics. 'Ugliness' is the aesthetic manifestation of that which disrupts and breaks through the 'ordinary' or 'normal', in the world that creates and sustains life: the threat of the monstrous and the contamination by the formless.

 

The appearance can be isolated and appreciated aesthetically. The difficult and highly artificial basic operation of aestheticization does not mean that we can find the ugly surprisingly beautiful, but that we can keep the monstrous or the disgusting at bay and control it so that it is 'merely' ugly – almost harmless, and sometimes even becomes ridiculous, and the sight of it is at most unpleasant. That is to say: it only makes you feel where that 'sight' comes from and/or where it leads.


The detachment included in that 'ugliness experience' is much more complex, less pure and more ambiguous, and hides much more involvement and a greater importance than the beauty experience, where the 'interest' comes after the disinterestedness, and is related to the existential meaning of the beauty experience. and the change of a life through an unexpected discovery.
There are elements from cartoons, space age and design that influence the formality. However, the negative not only plays a role in his appearance, but the negative space of the sculptures is also often used, which reinforces the "ugliness experience", promotes the monstrous and can reduce the contemporary negative space and negative space in the life he experiences. to suggest. Everything consists mainly of black and dark tones that contrast based on materiality and texture. Due to their isolating, mysterious and deepening effect, the shades create alienation and abstraction. Everything is translated into materials such as steel, wood, textiles and wax in combination with many surface treatments.His sculptures are silhouette designs, his silhouette designs are sculptures, his prints on silhouettes are paintings and his paintings are wearable prints. There is a constant search between all those elements while the human body will always be rejected.