Bart Herreman was born in Belgium where he lived until the early 1960s.
He’s attended the Sint Joost Academy of Breda in Holland.
In the late ‘60s he moved to Italy and began his photographic career, ranging from fashion to reportage photography, furniture, architecture and still life. In parallel, with the advent of digital photography, he’s continued his quest to create a world of fantasy and surrealism: animals and characters live in a world which in turn represents real places and everyday moments made improbable by his inspired touch.
One of chapters of Herreman’s photographic research is "Twiga" (Giraffe, in Swahili language), that inspired his book of photographs. Twiga has followed him on this path made of visions, travels and worlds beyond reality.
This chapter and a new fantastic zoo will be present in his new personal exhibition:
ONYRICON, 30 imaginatively constructed photographs.
The Belgian artist will inaugurate the exhibition on the 26 January 2017 (h.18.30) at the Mario Giusti Gallery HQ-HEADQUARTER in Milan, in Via Cesare Correnti 14.
As you might grasp from the title, we will witness the joyful representation of his imagination, the outburst of a mighty curiosity, the endless search of a fantasy world:
The exhibition will last until the 25th of February.
Erik Johansson "I do not I capture moments. I capture ideas "
In the age of photoshop, which is used to disguise and distort the substantial and visual truth with aesthetic barbarism, our "salvation" resides in the invocation of sheer unbridled imagination, released and then divided into works of art, preferably photographic, that declare the use of dreams as an antidote, the great strength of the unreal.
This is what Bart Heremann, Belgian photographer who moved to Milan, does after years of models and fashion, shootings and beautiful architectures: he translates and makes up the content of the dream, removes its latency and fulfills forbidden desires by making them public.
And it does so with ironic and humorous content, that can be experienced and shared, making it living history in a state of wakefullness.
This is his philosophy, combining stunning realism to fiction and illusion. Also for this reason he has been defined the surrealist photographer, definition he does not agree with, and rightly so.
Says the artist:
"... I am convinced that in order to create something surreal too many artifices are unnecessary, that you can get there even by realizing the infinite through a sky or a horizon left loose and free from superflous details ..."
Certainly there is a reference to the surreal, not so much as in the content, but as in the visual impact that the works have on the viewer. While the Surrealists have used photography to push the reality beyond its limits, today, thanks to the digital evolution, what may seem a surreal echo is actually a mish-mash of psychology, elegance, new visual grammar, fiction and reality, with no ulterior motives or need for self-determination. The storytelling of these contemporary artists defies formal labels, movements, categories: the aim is to modify with the help of new technology, but at the same time avoiding sterile virtuosity and sense of belonging.
A dilated art expression at the service of the subjective imagination. Then comes the technique.
Herreman draws out from its huge archive; animals, churches and human beings are the most common subjects of these 30 artist performances, whose objective is not to create normality, but ironic absurdity. Admiring the photos you have quite the bizarre feeling, due to being fantastic performances, of being dragged inside, like a vortex, in which our imagination and our fantasy find in that precise moment an unexpected huge escape valve. They are stories, not pictures.
It only remains for you to come and see us ... and to dive into this creative madness.