Walter Swennen
Born 1946 • Belgian
Walter Swennen is known for his radical, experiential and associative approach to painting, which is perhaps best summarised as a belief in the total autonomy of the artwork. For Swennen, a painting does not need to be ‘emotive’ or ‘understood’: the primary goal of painting is, quite simply, painting. Everything – form, colour, subject – comes from the outside. A poet before he became a painter, it is no coincidence that language plays a vital role in his practice. In the early 1980s, Swennen stopped writing poetry and switched to painting as his primary means of expression. Although his oeuvre varies greatly in scale, style and materials, it can be construed as an on-going exploration into the nature and problems of painting (its potential and limitations), the fundamental question of what to paint (subject matter), and how (technique). Often working on supports made from found objects, such as sheets of old plastic or salvaged wood, Swennen allows his chosen imagery to float loosely atop a background made up of more allusive elements, such as blocks of colour, dripped paint or unusual textures. The images he deploys are often derived from popular culture, advertising and magazines, or take the shape of everyday objects such as wine bottles or bicycles. The way that he handles motifs – he takes them as he finds them, high or low, and manipulates them at will – is akin to a kind of visual poetry that harks back to his early career as a writer. Freely associative, and above all humorous, Swennen’s paintings explore the relationship between symbols, legibility, meaning and pictorial treatment. Walter Swennen (b. 1946, Brussels) lives and works in Brussels. A major retrospective will be held at Kunstmuseum Bonn in 2021, traveling to Gemeentemuseum Den Haag and Kunst Museum Winterthur. Solo exhibitions include La pittura farà da sé, La Triennale di Milano, Milan (2018); Ein perfektes Alibi, Kunstverein für die Rheinlande und Westfalen, Düsseldorf (2015); So Far So Good, WIELS, Brussels (2013-14); Continuer, Culturgest Lisbon (2013); Garibaldi Slept Here, Kunstverein Freiburg (2012) and How To Paint A Horse, Cultuurcentrum Strombeek and De Garage, Mechelen (2008).
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Walter Swennen
Born 1946 • Belgian
Walter Swennen is known for his radical, experiential and associative approach to painting, which is perhaps best summarised as a belief in the total autonomy of the artwork. For Swennen, a painting does not need to be ‘emotive’ or ‘understood’: the primary goal of painting is, quite simply, painting. Everything – form, colour, subject – comes from the outside. A poet before he became a painter, it is no coincidence that language plays a vital role in his practice. In the early 1980s, Swennen stopped writing poetry and switched to painting as his primary means of expression. Although his oeuvre varies greatly in scale, style and materials, it can be construed as an on-going exploration into the nature and problems of painting (its potential and limitations), the fundamental question of what to paint (subject matter), and how (technique). Often working on supports made from found objects, such as sheets of old plastic or salvaged wood, Swennen allows his chosen imagery to float loosely atop a background made up of more allusive elements, such as blocks of colour, dripped paint or unusual textures. The images he deploys are often derived from popular culture, advertising and magazines, or take the shape of everyday objects such as wine bottles or bicycles. The way that he handles motifs – he takes them as he finds them, high or low, and manipulates them at will – is akin to a kind of visual poetry that harks back to his early career as a writer. Freely associative, and above all humorous, Swennen’s paintings explore the relationship between symbols, legibility, meaning and pictorial treatment. Walter Swennen (b. 1946, Brussels) lives and works in Brussels. A major retrospective will be held at Kunstmuseum Bonn in 2021, traveling to Gemeentemuseum Den Haag and Kunst Museum Winterthur. Solo exhibitions include La pittura farà da sé, La Triennale di Milano, Milan (2018); Ein perfektes Alibi, Kunstverein für die Rheinlande und Westfalen, Düsseldorf (2015); So Far So Good, WIELS, Brussels (2013-14); Continuer, Culturgest Lisbon (2013); Garibaldi Slept Here, Kunstverein Freiburg (2012) and How To Paint A Horse, Cultuurcentrum Strombeek and De Garage, Mechelen (2008).
Learn More
Sign up for a FREE account today!
Sign Up
Digitizing your art collection allows you to access it anywhere around the world.
A computer, tablet, and phone showing the native ArtCollection.io applications.

Available on any device, mac, pc & more

ArtCollection.io is a cloud based solution that gives you access to your collection anywhere you have a secure internet connection. In addition to a beautiful web dashboard, we also provide users with a suite of mobile applications that allow for data synchronization and offline browsing. Feel confident in your ability to access your art collection anywhere around the world at anytime. Download ArtCollection.io today!

App Store button to download iOS application.
Google Play Button to download Android application.