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Jan
De Maesschalck’s paintings represent a sharp view on topical subjects
and the news. However, his clear observation of current events is depicted
within an atmosphere of muse and memory. As such, his work represents
an impression of melancholy and mockery, yet both in a mild form. His
subjects relate to an impression of intimacy and loneliness, but the mood
is never harrowing or heavy. According to De Maesschalck, melancholy leads
to beauty. The tone set in the depiction of schadowy interiors and forlorn
women is relativising and even humorous. All works speak of a strong but
indefinable desire. The paintings are tender riddles.
De Maesschalck’s metier reveals an extreme attention for detail.
With technical precision, he prepares his paper and draws with paint.
Utilising acrylic paint that dries immediately, De Maesschalck has to
work fast. At the same time, the chosen method enables him to differentiate
techniques and materials during the creative process. He is drawer and
painter at once. Brushstrokes are visible, and hence his secure draughtsmanship
contributes to the vibrant quality of the works.
In 1988 Jan De Maesschalck joined the weekly magazine HUMO as a draughtsman and subsequently worked for the newspapers De Standaard and De Tijd. For almost 10 years he has published on a weekly basis in De Morgen’s book supplement. He also draws for the new art magazine <H>art. The paper and acryl are put aside for a while and De Maesschalck has shown his oil paintings on panel and canvas at Zeno X Gallery at the end of 2007.