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Lou van ’t Riet redefines the triptych for a new communion with art.
Lou van ’t Riet grew up in Brussels where she studied design and architecture at the CAD (College of Art & Design) before leaving for New York for her Master in Fine Arts at the SVA (School of Visual Arts). In love with the city, she continued to live there until 2017, working for the Chamber Gallery and for the multidisciplinary artist Katie Stout.
These years allowed her to explore and enrich her network of artistic references through exhibitions, discussions with artist and art professionals. Through her work at the gallery, her personal wandering in museums, she started to observe closely the viewers attitude around works of art. She was struck by the distance that was existing between the viewer and the work. ‘Stand back’, ‘do not touch’ are amongst the injunctions that keep the viewer at that distance, preventing him to engage in what the artist sees as an essential connection with the work.
“C’est le regardeur qui fait l’œuvre”
Marcel Duchamp. Lecture on the work “Fontaine” by Marcel Duchamp, 1965.
Through her creations Lou tries to correct this distancing. She creates new ways of interacting and living art; at the intersection of Kinetic Art, Op Art and Interactive Art. The main objective is to break the ‘Do not touch’ rule and create works where the viewer must be a part of it. Her concept is a sensory approach that allows us to live art from another level. She challenges the rules that we traditionally observe.
With that intention Lou created her Triptych’s. Wall sculptures where the viewer is invited to become an active part of the work by manipulating it. These Triptych’s – made out of wood or metal – are organized in three articulated panels, each of different shapes and colors that create different visual compositions each time they are activated. By opening or closing a side the viewer will choose his variant in the geometrical and visual configuration. May the Triptych’s be closed, completely or partially opened they are an invitation to contemplation.
The triptychs also reflect Lou’s taste for travel. Each one is inspired and named after the landscapes and colors of the different places where she traveled or lived.
For example, the Triptych Venice is inspired by the evenings spent in the city, presenting two panels with dark blues that when opened reveal a shimmering yellow, red and orange.
This Triptych, the first realized, was also exhibited at the Palazzo Michiel as part of the Venice Biennale in 2019.
These sculptures are produced in limited edition and can be placed inside as well as outside, depending on the materials used. In the last years Lou has also created Triptychs on special order reflecting the colors of the collector’s universe.
Written by Astrid Malingreau©
2019 : Palazzo Michiel, The Venice Biennale, Venice
2021 : Minimalist Landscapes, Galerie Aliénor Prouvost, Brussels
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