“Luc Fierens’ work is remarkably inserted in this epochal pulse, since it unfolds the collection and accumulation of images, the perpetual combination of fragments that reveal a more or less violent collisions of meanings. In the realm of this artist, the collage technique is radicalized both in its material and conceptual expression: its fragment poetics allows to seize loose pieces of history and subject them to a new configuration that distorts the uni-vocal senses, and that slides them towards areas of disturbing uncertainty, both lucid and ominous.
“One of the most recurrent procedures by the artist consists in the clash of opposites, in the unusual encounter between visions that are conceptually rejected or excluded. Thus, the images of beauty linked to the female body or the nuance of eroticism are juxtaposed and equalized at the same level of significance with the images of historical violence and the summoning of the vulnerability of the human condition.
“The focus of his work within the field of collage focuses on his poetic vision, a transgressive vision that is involved in a persistent game of contradictions to end up in a hybrid entity halfway between the plastic and the purely poetic: collage-poem. The aesthetic option of Luc Fierens is nourished by the fragment, the deviation, and above all, a will of critical activation that is not very present in the field of collage.”
Luc Fierens (born in Mechelen, Belgium, 1961) is a networked collagist and visual poet provocateur. His work emerged out of Poesia Visiva, Mail Art and Fluxist circles.
In 1984, his focus was already on collage and visual poetry through the pre-internet Mail Art (social) network with solo and group exhibitions worldwide and published in various anthologies including, Visual Poetry (Skira Editore, Milan, 2014) and Visual Poetry in Europe (Imago Mundi-Fondazione Benetton, Treviso, Italy, 2016)
In 2019, a major retrospective of his work, spanning 1984 to 2018 at the Fondazione Berardelli in Brescia, Italy accompanied by the 205-page monograph, Punti di vista e di partenza by Margot Modonesi.
His collages, visual poems and artist publications (Postfluxpost °1987) have been acquired by major archives, including The Ruth & Marvin Sackner Archive in Miami, Artpool Art Research Center in Budapest and Archivio Vortice in Buenos Aires; by libraries, including the Museum of Modern Art Library in New York City, Poetry, Rare Books Collection of University at Buffalo Libraries, and Erfgoedbibliotheek Hendrik Conscience in Antwerp; by museums, including the Museum of Yeisk, Russia, Henie Onstad Kunstsenter in Oslo, MaRT in Trento e Rovereto, Italy, Museo Magi’900 in Pieve di Cento, Italy, Karuizawa New Art Museum in Japan; and private collections, including Fondazione Berardelli in Brescia, Italy, Collezione Palli in Prato, Italy, Fondazione Bonotto in Molveno, Italy and the Verbeke Foundation in Kemzeke, Belgium.