Willy Coppenolle °1959, Gent (Belgium), live in Kerobokan, Bali (Indonesia)
Willy Coppenolle is one of the many European painters of his generation that is searching if there is a dialogue between the works as aspects of visual representation, and/or the meaning in terms of their significance. For that he has been on an enduring journey to try achieve what could be the appropriate definition. Born and raised in Gent, where he started to learn painting , Coppenolle is an inheritor to the vast tradition of Northern European painting. At the same time, as a child of the late 1950s, his relationship to the medium is understandably influenced by photography, television, and in a lesser way by cinema. Interested in the wondering effects of television on the lives of people, Coppenolle explores issues of history and memory, as well as the relationship between photography and painting, using a silent palette to create canvases that are simultaneously withholding and disarmingly faded. Drawing on imagery from photography, television, and film, his distinctive compositions make ingenious use of cropping, close-ups, framing, and offering different approaches on the medium of painting, as well as larger social cultural issues.
Based in Bali, Indonesia, Willy Coppenolle is one of the few European painters working there today. His works are featured in a few public and private collections and are included in exhibitions over several years. Since the mid-2000s, Coppenolle's easily-recognizable, sometimes sparsely-colored mostly figurative canvases have redefined the traditional genres of the everyday and history painting. Taking their points of departure in the gap between the image and what it represents, his motifs appear stripped down to minimal signifiers and often involve a secondary, introspective narrative. Drawing in part on influences which range from his Gent Old Master painting to the contemporary mass media, his works are almost always painted from pre-existing imagery and produced few times in distinct, thematic series.
The last years he got more and more a aversion for the Institute that Art became, because the relationship among art and spectators, its not longer a confrontation but a indifference that generate a nervosity and hostility, it evolves in a way where the public doesn't feel attached anymore, its too much commodity then emotion. Declining connections as result.
As a fence to it he started to produce “anti-original-art", because someone used to say;
"Everything has ever been painted before"