Harold Ancart’s creative process involves drawing and space. Allowing for chance and repetition, he often works in situ creating sculptural installations with found objects, minimal traces, and graphic underlining to reveal the surfaces, the specificities and the situation of the place. Thread structures, lines, open cubes, concrete and steel point to these architectural and environmental considerations. He says: “I like to envision exhibits not so much as a succession of objects to be looked at, but as tensions created between the various zones of emptiness.” His use of materials such as ink, charcoal powder or soot lends his works on paper and wall drawings a certain delicacy and immediacy. He is fascinated by the marks left by flames, which he sees as the unintentional result of the burning process that he has activated. Colourful burnt photographs, taken from the popular culture of leisure and tourism, counteract the overall minimal character of his interventions. Deliberately recurring motifs include the parrot, the jungle, and palm trees.
Harold Ancart (b. 1980, Brussels, Belgium) lives and works in New York. Recent exhibitions include There is no there there, The Menil Collection, Houston, TX, USA (2016) and Tierra Vaga, Casa Wabi, Oaxaca, Mexico (2016, with Michel François). He has participated in critically acclaimed group exhibitions including Myth/History II, Yuz Museum, Shanghai, China( 2015); Europe, Europe, Astrup Fearnley Museet, Oslo (2014-15); The Great Acceleration: Art in the Anthropocene, the 9th Taipei Biennial (2014); Champs Elysées, Palais de Tokyo, Paris (2013) and I Know You, Irish Museum of Modern Art, Dublin, Ireland (2013).
text by Harold Ancart, published by Triangle Books, 2016, 120 pages
text by David Breslin, published by Triangle Books, 2016, 64 pages
text by Harold Ancart, published by Triangle Books, 2015, 176 pages, English
includes a conversation between Harold Ancart and Michel François, published by Xavier Hufkens, 2014, 32 pages, English
published by Triangle Books, 2013