The Human Face in Neo-Expressionism
Charles Szymkowicz operates within the visceral territory of European Neo-expressionism. Born in 1948 in Charleroi, his practice is defined by a refusal to conform to the sanitized aesthetics of the mainstream. He does not seek the approval of the majority; instead, he pursues the raw, often uncomfortable reality of the human condition. His work is a confrontation with the artiste maudit—the outcast who exists on the periphery of social ideals. This commitment to the individual over the trend defines his entire output.
His technical foundation was built at the Académie royale des beaux-arts de Mons, where he entered in September 1963. Under the guidance of Gustave Camus from 1963 to 1969, Szymkowicz developed a command of form that he would later deconstruct through expressive, emotive gestures. He currently maintains his studio in Gerpinnes, continuing a career that has moved between the intimate scale of the canvas and the public scale of urban architecture.
A Tension Between the Public and the Private
The core of Szymkowicz’s oeuvre lies in the friction between the external world and the internal psyche. He uses the human face as a primary site of investigation, often stripping away the veneer of social politeness to reveal something more primal. This tension is visible in his diverse range of commissions and subjects:
- Public frescoes for the Charleroi metro, specifically at the Ouest station, including "Femme et enfant dans la ville."
- Large-scale works such as "Marie Curie Albert Einstein" (2015).
- The 2018 "Drappellonne," the official standard for the Palio di Siena, a project that sparked significant local controversy.
- Ceramic reproductions of his landscapes, executed by Maurice Joly.
His work is not confined to the gallery wall. It occupies the entrance halls of hospitals and the transit tunnels of cities, forcing a direct encounter with the viewer in spaces of transition and vulnerability. Whether painting a portrait of a close acquaintance or a historical figure, the intent remains the same: to capture the emotional weight that the world imposes upon the individual.
The Weight of the Gaze
Szymkowicz’s approach to portraiture is direct and often unsettling. He avoids the flattering lie of traditional likeness, opting instead for a psychological truth that can be seen in works like "Autoportrait se chipotant la barbe" (1989) or the stark "Grimace." His brushwork carries the weight of his convictions, favoring a directness that rejects decorative impulse. He remains a painter of the face, using it to map the collision between the person and their environment.
