Born at Blégny near Liège 1943
Studies at the Academy of Fine Arts of Liège
Works and lives in Brussels
Early works – Isy Brachot (1964-1973)
In this first period Denyse Willem used three techniques: engraving, drawing and gou-ache. To express herself, she combined the power of nature with that of woman. The man symbolically takes the form of a bird opposite the woman, the object of desire.
In 1967 she showed some « bic » drawings at the Galerie Isy Brachot in Brussels. The gallery agreed to show the artist in its new ‘Jeune Peinture’ space. She exhibited in 1968, 1969 and 1970 at Galerie Isy Brachot and thus achieved her first breakthrough in the art world.
The mecanical bird, 1974 – gouache 38 x 28 cm.
Lucien Bilinelli (1976-1993)
In 1974 she met Lucien Bilinelli and together they moved to Brussels. It was the beginning of large formats and feminist content. Women’s bodies became more monumental. Faces were now caricatured to add value to the scene depicted. Theatrical compositions became more impressive.
Denyse Willem, steeped in the feminist movements of the 1970s, was inspired by old stories to incorporate contemporary realities. The woman is now extremely stylized, far removed from physical beauty. Breasts become round balls, muscles and joints bulging.
From 1982 onwards, Denyse Willem also devoted himself to watercolor painting and made several thematic series. A new man appears idealized and is given an important place in her work: Contes de fée (1983) – Interiors-Interiors (1985-86) – vertical landscape (1988-1989) – La Mort (1989). These are burlesque stories whose mise-en-scene is reminiscent of the art of comic strips.
Fairy Tales (Series) – Red Riding Hood bringing the wolf out of the woods, 1985 – watercolor/paper 56 x 76 cm..
Theatrical compositions – « The painting of Denyse Willem can be seen as a theater of desire with multiple scenes. This phenomenon of theatricality is reflected in the majority of her works, leading us to believe that all life is a great comedy, or rather a tragedy, in which everyone has a role to play. »
The Birth of Caesar, 1989, acrylic/canvas 130 x 160 cm.
Self-management ( 1993 – )
In 1993 Denyse Willem left her partner’s gallery and organized exhibitions at various contemporary galleries. She continued to make series of watercolors in which she humorously attacked men’s sex and the good taste of the bourgeoisie: Sex Men (1993-1995), Les Marquises (1997-1999). She also returned to the question of nature in danger in the series Bois Coupés (1993-1996). These new series fit in perfectly with her earlier watercolor series
The Marquises – The dance lesson, 1996 – watercolor/paper 56 x 76 cm.
Back to large-scale compositions
From 2003 onwards, Denyse Willem returned to large formats. Her compositions became less aggressive. The artist depicts human relationships in a certain climate of harmony. The introduction of androgyny in her work reduces the tension between the sexes.
However, there are still visual shocks that are inherent to contemporary reality.
The Tower of Babel, 2005 – Acrylic/canvas 200 x 250 cm.
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