High-relief in anodised aluminium (1976)
Whilst designing the work, Lismonde quickly came to the conclusion that a drawing, tapestry or glass work did not provide enough possibilities to be placed on a 14 metre wide tympanum over the tracks. The artist wanted to create shapes and volumes to fit the scale of the space which was available to him (14 metres width). Therefore he chose anodised aluminium. The use of this material makes shapes appear particularly whole, pure and clear. This is why the lines retain so much importance in this relief. They integrate into the architecture, wich they lengthen by underlining the most important shapes and render it more lively by the game of light and shadow.
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JULES CLÉMENT LISMONDE (1908 – 2001)
He is best known for his drawings and more specifically for his vibrating drawings, in which the mix of pure white with a concentration of black suggests space, depth and distance. Lismonde creates a dialogue with space and architecture in his works. The observer has the impression of taking a walk through the work of art, despite the fact that the work is abstract. In his urban themes, the artist falls back on the essence of the project and expresses it with only stripes, dots, vibrating surfaces and points. From the 1950s onwards he focused on lithography and created a great many projects with stained glass windows and tapestries. Lismonde has participated in many different exhibitions in Belgium and abroad and has won several prizes. Initially, Lismonde’s work had more of an expressionist character.
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