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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.
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.