In a fluent, sketchy style I try to capture the spontaneity of a movement or a position, the beauty and energy that lies in a simple, unconscious act. Or the way the light reflects on a female figure.

For every drawing there is the recurrent challenge to build a composition so that you don't 'see' it in the final result. Each time in a different way, I intend to guide the eye of the observer trough the lively maze of sketched lines so that he/she will finally rest on the most important area of the drawing.

It may be a colour, or a look in my model's eyes; in another drawing it might be the frozen movement of an arm or a thigh or a body. Or it can be the light on a shoulder that strikes the looker-on and brings him or her in the right mood for 'reading' the drawing.

This reading is about the strength of the women I draw, but at the same time about their vulnerability. It's about their rest-provoking dynamism as well as about their respect-inviting nudity. The object of my drawings and paintings is not just a photographic reproduction, but an impression of warmth and power: to me the very essence of femininity. It's my quest for what is essential. It's my will to purify the transient, realistic image into a timeless moment.

I don't feel there is a need for a grandiloquent, theoretical 'explanation' to understand a drawing, but I do think there is a strong need for a good feeling caused by the honest use of the languages of colour, movement and composition.

The bronzes and the jewelry are merely an extension of that vision. Brushstrokes of paint turn into strokes of light; the written lines become the rhythm of arms, bodies, thighs and legs. The strength of the women is now seen and felt in the space that every position, every sculpture needs and demands for itself. Their vulnerability is underlined by the feeling of diffidence the spectator feels if he or she wants to touch the sculpture.

At last my drawn figures have found an expression in a tangible, "caressable" form

Georges Schelstraete

My vision