Philippe Vandenberg, etching (1) for Exil de Peintre

Exil de peintre, an artists' book with 64 etchings and a text by Belgian artist Philippe Vandenberg.

During one year, Philippe Vandenberg (°1952, Ghent) worked on this series of etchings, which were bound into a book, together with a simultaneously produced text Letter to the Nigger. Exil de peintre was a creation of Philipe Vandenberg, Henri Hemelsoet and Rein Ergo and was published in a limited edition of 33 copies.

Exil de peintre, 28 cm x 36 cm, sheath.
33 copies printed on Hahnemühle 150 g., two volumes (one with a suite of eleven signed etchings).

The oeuvre of Philippe Vandenberg (1952-2009) is characterized by a restless introspective search.

Destruction and the inevitable renewal that followed was a tried and tested method. Vandenberg could only reach a state of wonder by constantly questioning his work, resolutely putting it behind him and starting over.
In a period of withdrawal in De Sleutel he had come to a standstill, 'it is as if I can no longer tell stories', he said. He returned to a universal visual language with a tendency towards abstraction, in which recognizable themes such as the maze and the cross were a constant. With unrelenting energy, he searched for the ultimate image in Exil de peintre.




N L	Philippe Vandenberg, etching for Exil de Peintre, Ergo Pers, 2003 [printer's proof by Henrie Hemelsoet]
	Exil de peintre, an artists' book with 64 etchings and a text by Belgian artist Philippe Vandenberg. During one year, Philippe Vandenberg (°1952, Ghent) worked on this series of etchings, which were bound into a book, together with a simultaneously produced text Letter to the Nigger. Exil de peintre was a creation of Philipe Vandenberg, Henri Hemelsoet and Rein Ergo and was published in a limited edition of 33 copies. Exil de peintre, 28 cm x 36 cm, sheath. 33 copies printed on Hahnemühle 150 g., two volumes (one with a suite of eleven signed etchings). The oeuvre of Philippe Vandenberg (1952-2009) is characterized by a restless introspective search. Destruction and the inevitable renewal that followed was a tried and tested method. Vandenberg could only reach a state of wonder by constantly questioning his work, resolutely putting it behind him and starting over. In a period of withdrawal in De Sleutel he had come to a standstill, 'it is as if I can no longer tell stories', he said. He returned to a universal visual language with a tendency towards abstraction, in which recognizable themes such as the maze and the cross were a constant. With unrelenting energy, he searched for the ultimate image in Exil de peintre.