Jean-Jacques Oppringils was born on January 16th, 1960, in Etterbeek (Belgium).
About the artist’s work:
Jean-Jacques Oppringils, who is passionate about Art in all its forms, started creating his own compositions in 2007.
Throughout his work, which he describes as an « Alchimie Géométrique » (geometrical alchemy), he transforms digital pictures until the original subject fades away to reveal new shapes, beautified by a vast range of colours, a black and white contrast or a transparency effect.
In the process of capturing the necessary creative energy, M. Oppringils draws inspiration from nature and the universe, as well as from the human body, architecture and the great challenges of our days.
While some of his compositions picture the spasms that shake our civilisation, he portrays the world in a brand new way, entirely unknown and absolutely unlike anything else, and yet deeply reassuring. His work can be seen as a window opening on another world of possibilities.
Jean-Jacques Oppringils takes great care to integrate the concept of time in his creations. In his pictures, he chose to replace depth by a time rebirth and the movement it generates. The result is an alchemy that embodies two dimensions and time, which can be expanded or contracted, as if the human being had found a way to submit it to his will or redesign the universe according to his own desire.
Thus, in his compositions, duration is expressed as the third dimension. It becomes a spherical metaphor which shows time as an expansion phase and as a sharp movement to illustrate the shortening of its duration.
This mode of representation unveils a sort of travel through time.
In his recurring quest for symmetry, one of Nature’s fundamental principles and construction patterns, Jean-Jacques Oppringils plays with two dimensions and time by the means of the various geometrical shapes found in our environment, whether very simple or extremely complex.
He insists on amplifying his patterns so as to display the smallest details and their subtlety. This accounts for his preferring a square format of side length 1.2 m.
He also makes frescoes, composed of three to seven elements, in which he particularly emphasises the « mouvement du temps » (time movement). These frescoes, pulsing in a world of ceaseless echoes and vibrations, seem to have a life of their own.
The fresco « De l’Aurore à la Tombée de la Nuit » (From Dawn Till Nightfall), for instance, illustrates this concept through seven phases. A one-day duration movement is depicted starting from a woman’s body, which is at first rooted in immobility.
“What stimulates me in the creation process, amongst other things, is the potential of the geometrical shapes of the woman’s body. The human body is by no means a motivation in itself or a central theme; I see it as a useful “tool”…”