The fingerprint of a child’s soul is the emotional imprint of his early reactions on
impressions and experiences.

Entre Chien et loup, Magnificient Glass, 1968 Pistoleros (The Motherfucker of all Battles) refers to political events, wars, dictators and heroes. The 45 works are a cynic wink, a cry of revolt against violence and the never ending cruality of men who always repeats himself.

Los Pinos de Pinochet Nancy Wake - The White Mouse

Dien Bien Phu 1954 - Vietminh Strawguns

The Lost War William S. Burroughs The Unbearable Truth Machine, there are no more black pages... but the truth has never been so invisible been manipulated. We silently agreed to exchange or freedom for dreams manufactured by the consumption machine. Kafka and Orwell are already history.

The Unbearble Truth Machine, Horas de Angustia, 2002/2005

The Unbearble Truth Machine, Ciego, 2002/2005

From 2000 onwards, Fonteyne decides to make only unique works as if it would concern paintings. Needles to Pin is the moment in which the figuratif turns to the abstract and vice versa. The mind is emptied and thoughts become like zenmorse of calligraphy, the photographs can be turned in all directions without losing the significance and balance.

Needles to Pin, 2002/2005

Needles to Pin, 2002/2005

Needles to Pin, 2002/2005

Bodymaps, parts of the human body are remapped.

Bodymaps, a squence of 9 photographs handpainted emulsion on watercolor paper, 2002

We never see what The Painter actualy paints, we are only the witness of his own shadowfight.

The Painter, a squence of 9 photographs handpainted emulsion on watercolor paper, 1990/2002

The Caligraphy of Caterpillars, write their own story.

Caligraphy, a squence of 9 photographs handpainted emulsion on watercolor paper, 1996/2002

The Hair Project, clothes made from hair.

The Hair Project, handpainted emulsion on watercolor paper, 1995/2002

The Hair Project, handpainted emulsion on watercolor paper, 1995/2002 Shapes and Things, objects and insects are put together in a dadaistic way.

Shapes and Things, Gorillahand & Train, 1994 Shapes and Things, Franc-maçon, 1994

Shapes and Things, Gheco, 2004

Shapes and Things, Gladiator, 2004

Shapes and Things, Butterfly, Handbrushed silveremulsion on watercolor paper, 1994/2002

Prayers for the Deaf (1994), is a story and a warning of things to come. It starts with Black Borders, a surrealistic funeral. In the Powers of Clearvoyance, two persons survive the atomic apocalypse and re-discover the powers of the secret language they forgot. Abracadabra: a spell to keep all evil away, all the people become insane and mad, they pee in their trousers, eat stones and worms and cry because their clothes are eaten by moths. People, wake up before it’s too late! In Aeiou everybody is numbered and performs strange acts...

Black Boarders (Ongles en deuil), Walkers, 1992

Black Boarders (Ongles en deuil), Ashes, 1992

Powers of Clearvoyance, Communication, 1992

Powers of Clearvoyance, Astral Journey, 1992

Powers of Clearvoyance, 1992

Abracadabra, Birdeater, 1992

Abracadabra, Nailed Princess, 1992

Abracadabra, Flowerpots, 1992

Aeiou, For your Eyes Only, 1992

Aeiou, Goededag, 1992

Aeiou, Reader, 1992

Aeiou, 11, 1992

In 1990, a second book is published, Black Earth, in which all the people are painted black, which later became a real trend in the fashionworld. Basic erotic and sensual emotions are the base of Blue Hotel. Il me semblait... is a story of a blind person decoding the beautyspots on somebody’s back and like braille or blindreading. In Asterion, a man comes home and finds a stranger sitting in his chair who comes from another world. He can only express himself by handsignals and tells that he lives in a labyrinth of loneliness. Once a year he meets his mother, the queen of the labyrinth.

Black Earth, Cover, 1990

Black Earth, Mouth, 1990

Blue Hotel, Crying, 1990

Blue Hotel, Balancing, 1990

Blue Hotel, Trouser, 1990

Blue Hotel, Little Horse, 1990

Blue Hotel, Metal Smile, 1990 Il me semblait, Flying Hat, 1990 Il me semblait, One moment later, 1990 Il me semblait, Changing Reality, 1990 Il me semblait, Braille, 1990 Il me semblait, Beautyspots, 1990 His early 1970s - ‘80s work Entre chien et loup (The Twilight) is characterised by the combination of his surrealistic way of putting things into scene, and the space given to coincidence. Erotism, loneliness and mystery run as water through the stories... The Fish, 1970 The Bath, 1973 Turky, 1976 The Burning Shirt, 1978 Paperplane, 1973 Carré, 1980 Les poupées, 1979 Ladder, 1976 A de giraffe, 1976

BIBLIOGRAPHY




Pistoleros Published by Michel Husson





BIOGRAPHY

FR Karel Fonteyne expose une série d’oeuvres à la Young Gallery de Bruxelles. Une sélection personnelle de photographies prises au cours de ses 35 ans de carrière présente sa nouvelle oeuvre: Pistoleros. « Comme tous les enfants, quand je me baladais dans les bois ou sur la plage, je ramassais des bâtons en forme de pistolets… » Cinquante ans plus tard, mes confrontations quotidiennes avec les atrocités, le massacre de Srebrenica, les génocides au Rwanda ou en Irak m’ont poussé à m’inspirer de ce qui avait commencé comme un jeu. J’ai décidé de photographier ces petits bouts de bois avec une précision angoissante. En y ajoutant des mots et du texte, j’ai poussé ces images à un paroxysme inattendu. Cette association devient un cri de résistance et un avertissement contre la cruauté infinie de l’homme. Le printemps m’a semblé être la période idéale pour rassembler des pièces à conviction. Ce que les oiseaux laissaient tomber en construisant leur nid a été photographié et répertorié telles les preuves d’un crime. Toutes ces pièces ont reçu une nouvelle affectation et une nouvelle signification. La branche d’olivier de la colombe s’est transformée en un « nid d’armes ». Cependant, le voile qui couvre notre société ne se soulève qu’en partie. La liste est trop longue. En effet, les conflits ont fait des centaines de millions de morts. Pistoleros est un clin d’oeil triste et cynique aux événements politiques, aux massacres, aux dictateurs, aux victimes et à ceux qui les ont combattus par leurs paroles et leurs opinions. Cette forme de photographie ne représente pas la cruauté, elle nous confronte à la carapace d’indifférence qui en devient le moteur. Karel Fonteyne Minorque, juillet 2007 NL Karel Fonteyne stelt een compilatie van werk en tentoon in de Brusselse Young Gallery. Een eigenzinnige selectie van beelden gespreid over 35 jaar fotografie introduceren zijn nieuw werk: Pistoleros. “Zoals alle jongens raapte ik tijdens mijn zwerftochten door wouden of stranden stokjes op die op pistolen leken...” Mijn dagelijkse confrontatie met de gruwels en de genocides van Screbenica, Rwanda en ook Irak deden me nu 50 jaar later teruggrijpen naar wat toen als een bosspel begon. Ik besloot deze stukjes hout met een beangstigende scherpte te fotograferen. Door toevoeging van woord en tekst werden deze beelden naar een onverwachte climax gestuwd. Deze combinatie wordt een schreeuw van weerstand en een reminder tegen de nooit eindigende wreedheid van de mens. De lente bleek een ideale periode om bewijsstukken te verzamelen. Wat de vogels verloren tijdens het bouwen van hun nesten werd gefotografeerd en gecatalogeerd zoals evidenties bij misdaden. Deze registraties kregen een nieuwe bestemming en betekenis. De olijftak van de vredesduif veranderde in een wapennest. Het deksel van onze samenleving wordt maar even opgelicht,de lijst is te lang, honderden miljoenen mensen stierven tijdens conflicten. Pistoleros is een cynisch en droevig knipoog dat refereert naar politieke gebeurtenissen, massamoorden, dictators, slachtoffers en mensen die er met woord en visie tegen gevochten hebben. Deze fotografie toont de wreedheid niet,ze confronteert ons met onze mantel van onverschilligheid die haar voedselbodem wordt. Karel Fonteyne Menorca, juli 2007 UK Karel Fonteyne presents at the Young Gallery (Brussels) a personal selection of photographs taken during its 35 years of career and also a preview of his latest work: Pistoleros. As most boys like to do, I used to eagerly explore the world of forests, and began picking up at a very young age all sorts of small pieces of wood that resembled guns. Pistols facinated me then, and 50 years later, I vividly remember crossing these tiny pieces along my trail. It was the horrible genocide in Serebenica and Rwanda which convinced me to photograph these innocent looking pieces of wood. By showing them in another light, they possess another destination and meaning. What began as a game evolved into a project called “Pistoleros”. By using a technical camera, the pieces became more dramatic and evil. I added text associated with past historical and current events in the world. The combination between picture and word resulted in a cry of revolt, and a reminder of the never-ending cruality of man who always repeats himself. Spring became the ideal hunting ground as birds were building their nests. Ironically, the olive branch of the peace pigeon became material for a “weapons” nest. What was lost during their flight, and what I found on my daily walks became evidence for my investigation. The unfinished and endless collection of photographs is a cynical insinuation of political wars, torture, genocide, dictators, victims as well as those who fought against these realistic elements through actions and words. Hundreds millions people have died of conflicts until now... Will we take off our coat of ignorance and spread new plumes of hope and action, so the strangling silence of Tibet and the dark reality which embraces Darfour will end or will we close our eyes and let mankind destroy itself Karel Fonteyne Menorca, july 2007 Please contact the gallery for current pricing and availability > CLICK HERE

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