Clemens Briels

The colour is the vehicle, the message is what it is all about. Not that Briels plays by the rules. On the contrary, he systematically transforms commonplace events into a creative cavalcade of original symbolism. With colours incisive and intense. And a refreshing lack of respect for the academic straightjacket of perspective. Paper and cardboard on the canvas furnish the depths he desires.

The artist arouses the viewer’s imagination by revealing images other than those we expect to see. We tend to be nurtured on stereotypes and not these rich imaginative interpretations of the objects and events by which our lives are shaped. 

The worldwide appreciation and respect that are now his lot have gone some way to prove the success of his approach. No surprise, as his interpretations of the routine are universal and thus recognisable to all.

Briels translates his experiences in the Orient, the Carribean and North and South America. Not in a general sense as a source of inspiration (an unacceptable cliché for Briels), but the moments on his travels furnish him with the titles he so likes to transform into images.

The traditional music of Central and South America is another almost inexhaustible source of inspiration. The Cuban son, mambo, merengue and the souk topped of with a lightly erotic sauce of musical tones, compel him to create intriguing paintings.

He does not restrict himself by solely making paintings on canvas and creating threedimensional objects. 

He has also designed the antipodes and the Kleio´s, 4 dining-room chairs for Leolux, fabric which has been used to upholster fifty Ford Ka´s and he also makes sculptures, glass ware and carpets.

Clemens Briels, official artist of the Olympic Winter Games in Salt Lake City 2002. Its tradition to organise music and art-festivals parallel to every Olympic event. Are not sport, art and music binding factors between nations. Briels is the first Dutch artist who has received the honour to be selected by the American Olympic comity. His work is represented on the official Olympic poster. He exhibited in The Hague, Paris, Miami, New York, San Francisco, Chicago, Dubai, Shanghai and Singapore. 

Philosophy and Antipodism

The colour is the vehicle, the message is what it is all about.

Not that Briels plays by the rules. On the contrary, he systematically transforms commonplace insouciance into a creative cavalcade of original symbolism. With colours incisive and intense.

And a refreshing lack of respect for the academic straightjacket of perspective. Paper and cardboard on the canvas furnish the depths he desires.

The artist arouses the viewer’s imagination by revealing images other than those we expect to see. We tend to be nurtured on stereotypes and not these rich imaginative interpretations of the objects and events by which our lives are shaped. 

The worldwide appreciation and respect that are now his lot have gone some way to prove the succes of his approach. No surprise, as his interpretations of the routine are universal and thus recognisable to all.

Briels translates his experiences in the Orient, the Carribean and North and South America. Not in a general sense as a source of inspiration (an unacceptable cliché for Briels), but the moments on his travels furnish him with the titles he so likes to transform into images.

The traditional music of Central and South American is another almost inexhaustible source of inspiration. The Cuban son, mambo, merenque and the souk topped of with a lightly erotic sauce of musical tones, compel him to create intriguing paintings.

http://www.clemensbriels.nl