This in-depth interview explores the motives underlying the creative oeuvre of the Belgian artist Philip Huyghe (Ieper, °1959). The guiding principle of this oeuvre, comprised of plastic work, installations, performances and videos, is the duplication of the/his mother, an idea which imposed itself on the artist in a feverish dream, and which permits the Gestaltung of 1. the liminal space, as space of opposition, and; 2. the artist’s experience of sexuality.
For several years, Isabelle Le Gouic has been developing a multifaceted work combining poetry, drawing and music. The relationship to space, conceived as a psychic space as well as a game, is fundamental in her creations. Her literary work is based on sets of skilful puns addressing complex issues.
Isabelle Le Gouic’s unique trajectory, involving psychiatric hospital and art therapy, brought her from the hospital to the art space, resulting in the full accomplishment of her identity as an author. This successful transition began in the game set up by the hospital which she then developed by herself.
In this in-depth interview the Belgian-Syrian artist Mekhitar Garabedian (°1977, Aleppo) and psychoanalyst Filip Geerardyn explore the process of the emergence of subjectivity at stake in the creative oeuvre of the artist. The leitmotiv of this exploration is the analogy between the creative process on the one hand, and what is implied with Nietzsche’s imperative “Become what thou art!” on the other. This becoming (understood as the transference of the un-spoken) of the subject as well as of the artist, appears to realise itself through the Other, i.e., through the mother tongue (Armenian), through the others, through citations, through stories and histories, through collections and through the proper name Mekhitar.
This dialogue explores four aspects of the work of the Belgian artist Johan Clarysse: (i) the overdetermination or stratification of psychical determinants of plastic work, that is, the differentiation between conscious/preconscious determinants on the one hand and unconscious determinants on the other; (ii) the process of symbolising and/or representing affect in plastic work; (iii) formal research and its connection with self expression as implied in the work of Clarysse; and (iv) the role of chance and its impossi¬bility in the creation of plastic work.
Starting from a critical reading of Freud’s essay A Childhood Memory of Leonardo da Vinci, the author tries to assess whether it is still valuable. The historical debate between Schapiro and Eissler as well as to the more recent work of Maïdani Gerard and Collins is discussed. It appears that the central element of Freud’s psychobiographical contribution, i.e., the interpretation of Leonardo’s affective indifference and his inhibition in his artistic creation by his latent homosexuality, has found more support in recent biographical and iconographical research. More specifically, it is argued that Freud’s intuitions, both with respect to the circumstances of Leonardo’s early childhood, and to the uniqueness of his St. Anne with Two Others, have finally been accepted.