Primordial to Peter Depelchin's artistic universe is the interpretation of art-historical and literary observations. Avoiding cultural appropriation he tends to create a new intercultural imagery containing a symbiosis of art history and topicality. To this end the artist decontextualizes and neo-contextualizes art-historical characteristics of aesthetics such as allegory, iconography, the use of patterns and approaches to the depiction of space. As a result, these sampled images touch our cross-cultural imagery and exercise a strong visual effect on the spectator. By recomposing collective imagery he tries to accomplish a new universal artistic language appropriate to the contemporary world.
Depelchin's artistic practice is articulated in two main steps: first, a research phase, for which he develops an amount of studies and small writings. These preliminary examinations result in series of sketches or collages. In a second movement, after having studied his subject at length and after having set-up the outlines of the intended artworks, he starts drawing, printmaking, filming or creating installations. The initial sketches are put to use either as a stable point of departure for later artwork, or as autonomous artworks in their own right. Notwithstanding his interest and experience with a variety of media, drawing makes up the core of his artistic practice. The materials he uses to develop drawings are pen, Chinese ink, bistre and silk paper. This combination justly evokes images with both Eastern and Western cultural influences. Likewise does his grip on several ancient printmaking techniques such as woodcut and intaglio.
Peter Depelchin (b 1985, Ostend, Belgium) lives and works in New York. He has been very busy on the national and international art scene, with residencies in The Netherlands (Stichting IK,Vlissingen 2008-2009), in Italy (Academia Belgica, Rome 2014-2015), in the USA (Residency Unlimited, New York, 2015-2016) and recently in Belgium (tamat, Tournai 2022). Each of these residencies led to exhibitions in The Netherlands (Neugebau, Pieter Janszoon Saenredam project, Gegoten Lood), in Rome (MAXXI) and in New York (Incube Arts, Offspace, Arts on Site, Outside in, Brilliant Champions Gallery). He was invited to exhibit in Brussels (Kasteel van Gaasbeek, La Vallée) and in London (Young Masters). Furthermore he was declared Drawing and Contemporary art laureate in several national art prizes, among which Input-Output (Bruges, 2007) , Grote Prijs Ernest Albert voor Tekenkunst (Mechelen, 2016) and Prix Elisabeth Burdot (2022). In 2023 his work is presented in a double solo show: Hommage à Pan I at Château de Thozée in Mettet and Hommage à Pan II at Musée Félicien Rops in Namur.