Having turned to art after a few years of sociology, Marcel Schellekens focused on graphic art at the Academie voor Beeldende Kunsten Artibus in Utrecht, studying under Peter Bol, Fred Koot and Dick van't Wout. In 1990, painting – a faster medium – began to become increasingly important. Indeed, it enabled him in a relatively short period to establish his own niche. His method of colour etching, using three zinc plates for red, yellow and blue, was too slow and the process too involved to be able to catch a single moment in colour and light successfully.
As a result, and because of his remarkably disciplined technical skill, Marcel Schellekens manages to succeed with these sensitive colour etchings of uncomplicated subjects. In his choice of subject and approach, the work of Marcel Schellekens, a native of Brabant, reveals a similarity to a number of Flemish painters of the early twentieth century grouped under the term Intimism, or Animism.
Marcel Schelleken's work has become increasingly poetic over the years. Artworks that I consider to be poetic have one thing in common: the forms, the colours, everything that art historians tend to gather together as the means at the artist's disposal, are not there for their own sake, but to conjure up a sensation or atmosphere.
We will enjoy part of his paintings from the 14th of September to the 15th of October in our exhibitions room.
Having turned to art after a few years of sociology, Marcel Schellekens focused on graphic art at the Academie voor Beeldende Kunsten Artibus in Utrecht, studying under Peter Bol, Fred Koot and Dick van't Wout. In 1990, painting – a faster medium – began to become increasingly important. Indeed, it enabled him in a relatively short period to establish his own niche. His method of colour etching, using three zinc plates for red, yellow and blue, was too slow and the process too involved to be able to catch a single moment in colour and light successfully.
