COLLECTION 5 THE MALE - A FASHION SPECIAL!

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82 PETER DE POTTER Interview by Amanda M. Jansson and Emma E.K. Jones Peter De Potter is a Belgian artist to whom art is not an occupation or a hobby, but a way of life and the only way of life. Since he never stops noticing things, thinking and perceiving his art and imagery is direct, honest and raw managing to create links of communication between artist, work, viewer in a way that makes it more than alive. We instantly fell in love wit his work when we first discovered it, so had to find out more about his views on art and how he thinks of his creations, just everything.
KALTBLUT: Where do you come from in terms of art and how did you begin working the way you do now? Peter De Potter: I’m not the classically trained art student who turned professional artist the minute he slammed down the school doors behind him. In fact, my itinerary has been more capricious. But at the same time it’s been following its own logic – I’ve been doing my art all my life, it’s just the way how it got out into the world that was perhaps less conventional. When people should ask to see some older work of mine I wouldn’t be delving up some battered canvases or half-finished drawings but I’d be pulling out a clothing rack with Raf Simons T-shirts and sweatshirts – and to be honest, I think that very fact is pretty cool. For me, the big shift came with the advent of social network sites, both in terms of making my work available as well as being directly influenced by them. This particular realm of the internet instantly felt like a natural and fitting place to communicate my work. You never impose but you’re never invisible either. You’re indelibly present, preserved forever but in a gentle way, without making a loud noise and I really like that. It’s an exciting factor that the very tool that distributes and showcases contemporary culture actually is contemporary culture itself. I don’t think art should be put away in the safe haven of white gallery walls and stripped-down environments only. I like the fact of randomly throwing artworks into the maelstrom called internet – not as a conceptual thing but as a self-evidently gesture. It’s not so different from having a collage printed on a T-shirt. In both cases you accept the context and let all the subtexts and pre-set references work their way into what you are offering. That way, any image, any message, any visual piece becomes layered, multi-dimensional, vibrant. Almost by default, not in a contrived, premeditated way. This state of non-definition is what makes a lot of visual things exciting nowadays. Images don’t come as ‘just’ images anymore. There’s a lot of conscious as well as accidental interplay. And it’s breathing new life into age-old art techniques as well, like appropriation and cut-up. The methods are still the same but the perception of it is very different today because everyone is in on the game. This generation ‘reads’ images with such ease. The internet is forcing us to accept different interpretations of things like authorship, property, privacy, reproduction. We post online, we watch online, we experience images and messages taking on a million different meanings in a matter of seconds, all before our very eyes. So it’s interesting again to work with collage or appropriation, there’s a whole new set of dynamics at play. At the same time I have begun showing some of my work in more traditional formats, framed pieces, tangible images. It’s the same creative process, a bit more elaborate maybe. An actual, framed piece works differently than an online image, it’s another kind of one-to-one conversation. You’re more aware it’s an object, so the image must be strong enough to overcome that little threshold. KALTBLUT: There is a lot of military, fire, darkness, but also majestic nature etc in your work. What are your influences and how do you get inspired? 83 Peter De Potter: Hmm, I’m not so sure about the fire being so present in my work. I’m afraid of fire! The subjects I use in my work are never the real subject of the work -if that makes sense. The subject is the work itself, the fact that it’s there, appearing to people, that it has been made. The things you mention are more like components to me – the same way a painter has a colour range at his disposal I have an image range to work with. Of course, there are certain elements that keep coming back but that’s not so much a subconscious thing on my side, no, it’s because I feel I still haven’t truly fathomed those subjects. The thing with selecting elements that already have a symbolic or coded aspect about them – a soldier, a fallen tree, a hurricane- is that this sort of imagery tends to take the upper hand and leave little room for interconnection. So it’s always a kind of a fight to dismantle this kind of laden imagery and make it into something more…flexible. KALTBLUT: What‘s your creative process? You use a lot of different images. How do you look for them? Or do the pictures come first and create a concept in your head? Peter De Potter: I think that talking about the creative process, or at least the behind-the-scenes process, often contaminates the finished work. In that case you tend to look at the finished piece as the sum of its parts, which is not how it should be. Even when I do pieces with quite distinctive compositions or graphic interventions I want the initial view to be very smooth and readable – I want the feeling to kick in even before the mind starts to dissect what’s actually on view. Too much information can be a hindrance for that I think. I don’t make much distinction between the kind of images I work with. There are pictures I take of people I meet or objects or scenes I come across but at the same time there are downloads and reworked screenshots–I think the actual physical act of downloading and making screenshots are forms of photography too–and in the end they all come together. Or fight each other off, it depends how you look at it. I always say that it’s not so much me that makes the decisions–it’s the image itself that decides the way it will work into a piece. KALTBLUT: Your art is very modern in the sense of pushing boundaries but has some classic elements in it. How do you stand towards more classic forms of art? Like or hate them and why? Peter De Potter: I could entertain you with all kinds of high-brow theories about quoting and recontextualising the old masters of past centuries into contemporary art but the simple truth is: don’t knock the classics. There are certain standards, certain rules of composition that shouldn’t be questioned or be messed with. I like classic, time-tested forms and formats. I like making series and grouped pieces. Anything that brings structure and overview, because that makes it easier for the viewer to engage with the content and the message. A lot of religious art from the past centuries for instance has this kind of instructional, story-telling quality to it that is very appealing, even though I’m not a religious person.
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