GILBERT  DECOCK
ZEN  MEDITATIONS

​ Gilbert Decock (Knokke, Belgium 1928 - 2007)
Belgian constructivist artist best known for his symbolic, spiritual and meditative compositions.
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"Composition" 1962, Gouache, 45 x 55 cm
​A very rare gouache from the early stages of the artist's abstract compositions

"Iduna" ​1991, oil on canvas, 90 x 90 cm

"Shamash" 1991, oil on canvas, 90 x 90 cm

"Rythme I" ​1997, oil on canvas, 100 x 100 cm

"Sequenza" 1998, Oil on canvas, 110 x 110 cm

"Semele" 1999, Oil on canvas, 70 x 70 cm

"Sonoor" 2002, oil on canvas, 90 x 90 cm

"Successive" I  2003, Oil on canvas, 70 x 70 cm

"Successive" III  2003, Oil on canvas, 70 x 70 cm

"Elégie" ​2005, oil on canvas, 90 x 90 cm

"Oegarit" 2006, Oil on canvas, 90 x 90 cm

Gallery view of the "Spatial research" exhibition, 2019.
The works in black on white are by Albert Rubens, the 3 at the back by Gilbert Decock

Monumental composition at the "Arts-Law" underground station, Brussels

​Gilbert Decock was born in Knokke at the Belgian coast in 1928. He studied at the Fine Arts Academy in Bruges. Since the end of the 1950's the artist painted elementary forms such as circles, squares and triangles which are dialoguing on his canvases. His paintings and sculptures can be qualified as minimalist, ascetic, austere, symbolic, meditative and spiritual. In 1965 Decock became a founding member of the group "D 4" together with E. Bergen, V. Noël and M. Verdren. In 1967 Jo Delahaut joined the group whose name was changed into "Geoform". Decock executed several monumental projects in his long career for Distrigaz, the Knokke Casino and the Metro station "Arts-Loi" in Brussels.
A fine monography about the artist by Dr Serge Goyens de Heusch was published by Lannoo ( Tielt, Belgium ) in 1995.

Works by Decock are found in the permanent collections of the Museum of Fine Arts in Brussels, Antwerp (Middelheim), Ghent, Ostend, Bruges, Utrecht, Dunkerque, Cholet, Maubeuge, Montbéliard, Bibliothèque Nationale de Paris, the Mondriaanhuis in Amersfoort etc..

"Chez Decock, la ligne est tirée comme au cordeau, sans faille, sans sensualité dans le tracé. Elle n'en est pas moins riche de rigueur et obsédante de tension. Des toiles pures, obsédantes en deux couleurs, comme des objets de méditation qui règlent nos vies, l'art de Decock se déploie carré, chaud et variable à souhait sous ses apparences froides et nues".                                                                                                             Roger-Pierre Turine, La Libre Belgique, 2006

"A l'instar de quelques grands initiateurs de l'abstraction comme Kupka, Herbin ou Jozef Peeters, Decock confère aux formes géométriques qu'il privilégie -le carré, le cercle et le triangle- un contenu symbolique et spirituel qui entraînent l'artiste vers une source de méditation à la fois poétique et métaphysique".
                                                                                                                                                                     Serge Goyens de Heusch, 1995

 

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