Lot 499 D

“His [Leblanc's] artistic approach is subject to rigorous and purely functional programming. This programming includes the exploitation of the available possibilities, one after another, and he does so through repetitions, the directions of the torsions, the penetration of their colours and the activities of the shapes in three-dimensional space.
There can be no doubt that many new concepts and ideas are the results of new materials and new techniques which are accessible to today's artists. The material opens up a new way of handling signs, and the resulting works therefore convey new iconographic effects. For Leblanc these signs take the form of torsions and are continually in harmony with each other. Whether such torsions are in polyvinyl, threads or metal, each profile creates an internal movement under the play of the light and under the force of colour, so that the movement spreads out into active fields. […] In each work, however, the artist seeks to concentrate movement within the vibrating zones and to control the shapes within the image field. The action, the image created on the viewer's retina, is composed in such a way that it coordinates our visual and indeed aesthetic response with our physiological and sensory response.” (Phil Mertens, Einheit zwischen dem Ich, dem Raum, der Zeit und der Materie, in: Nicole Leblanc and Danielle Everarts de Velp-Seynaeve, Walter Leblanc, Catalogue Raisonné, Bruges 1997, p.121).