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Isabelle Menin
I'll be your summer 04
Distorted Nature
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$ 749
Dream River 02
Distorted Nature
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Etude Pour Un Apres Midi 02
Distorted Nature
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$ 699
Etude Pour Un Apres Midi 06
Distorted Nature
from
$ 499
I'll be your summer 02
Distorted Nature
from
$ 749
Elusive Treasures
Distorted Nature
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$ 649
Dream River 04
Distorted Nature
from
$ 649
Dream River 06
Distorted Nature
from
$ 749
Dream River 07
Distorted Nature
from
$ 499
I'll Be Your Summer 05
Distorted Nature
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$ 699
Etude Pour Un Apres Midi 03
Distorted Nature
from
$ 599
Elusive Paradise
Distorted Nature
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$ 1,499
I'll be your summer 04 | SPECIAL GIFT | 13 x 13 cm
Distorted Nature
$ 39
L'Embarquement pour Cythère Nº 11
Minis
$ 119
Elusive Paradise
Minis
$ 359
Lude Nº 11
Minis
$ 119
Background Information about Isabelle Menin
Introduction
ABOUT THE WORK
Distorted Nature
It is immediately apparent that Isabelle Menin’s artistic background is in painting. Her bright colours and invigorating, fanciful manipulation of texture and materiality have enthralled the art community. Menin’s works are like vortexes, pulling viewers in deeper and deeper.
Menin describes her compositions as “Inland photographs and disordered landscapes”, as a means of drawing parallels between the complexity of the human character and that of nature. The inspiration for her work is drawn in part from Peter Paul Rubens and the so-called “Flemish Primitives”, an artistic circle prominent in the 15th and 16th Centuries that included Jan van Eyck, Hans Memling and Rogier van der Weyden. Menin’s link to the Flemish masters can be seen in her endeavour to create a distinctive form of reality inside fictional worlds.
ABOUT THE ARTIST
After completing a degree at the Brussels School of Graphic Research, Menin devoted herself to painting and illustration. Multiple exhibitions in Belgium soon followed. After spending a decade working with classical techniques, however, the artist was drawn to the compelling challenges of digital art. Menin finds her subjects in nature, and flowers are a constant theme in her compositions.
What sets Menin apart from her peers is her combination of beautiful, organic forms with a modern, technical method of representation. She manipulates texture and colour, photographing individual flowers, scanning other fragments of nature, and bringing them together in individual compositions. Her works have already appeared in Paris’s world famous Louvre museum, as part of the exhibition “Fotofever”.
“Going digital allowed me to push back my limits, to find a much wider sphere of activity where things tied up fluidly and were reversible.”
Hannah Hör
Distorted Nature
It is immediately apparent that Isabelle Menin’s artistic background is in painting. Her bright colours and invigorating, fanciful manipulation of texture and materiality have enthralled the art community. Menin’s works are like vortexes, pulling viewers in deeper and deeper.
Menin describes her compositions as “Inland photographs and disordered landscapes”, as a means of drawing parallels between the complexity of the human character and that of nature. The inspiration for her work is drawn in part from Peter Paul Rubens and the so-called “Flemish Primitives”, an artistic circle prominent in the 15th and 16th Centuries that included Jan van Eyck, Hans Memling and Rogier van der Weyden. Menin’s link to the Flemish masters can be seen in her endeavour to create a distinctive form of reality inside fictional worlds.
ABOUT THE ARTIST
After completing a degree at the Brussels School of Graphic Research, Menin devoted herself to painting and illustration. Multiple exhibitions in Belgium soon followed. After spending a decade working with classical techniques, however, the artist was drawn to the compelling challenges of digital art. Menin finds her subjects in nature, and flowers are a constant theme in her compositions.
What sets Menin apart from her peers is her combination of beautiful, organic forms with a modern, technical method of representation. She manipulates texture and colour, photographing individual flowers, scanning other fragments of nature, and bringing them together in individual compositions. Her works have already appeared in Paris’s world famous Louvre museum, as part of the exhibition “Fotofever”.
“Going digital allowed me to push back my limits, to find a much wider sphere of activity where things tied up fluidly and were reversible.”
Hannah Hör
Bio
| 1961 | Born in Brussels, Belgium |
| Studied Art at the School of Graphic Research in Brussels | |
| Lives and works in Brussels |
Exhibitions
Solo Exhibitions
| 2017 | Garden on Orchard, Muriel Guépin Gallery, New York, USA |
| 2017 | Seattle Art Fair, Muriel Guépin Gallery, New York, USA |
| 2017 | Gothic Show, Lehman College Art Gallery, New York, USA |
| 2016 | Karen Margolis and Isabelle Menin, Muriel Guépin Gallery, New York, USA |
| 2016 | Round it up!, Muriel Guépin Gallery, New York, USA |
| 2016 | Art Market San Francisco, San Francisco, USA |
| 2016 | Total Flora, Galerie Christine Knauber, Berlin, Germany |
Group Exhibitions
| 2016 | Belgium Modern Art Exhibition, Hongqiao Museum, Shanghai, China |
| 2016 | OFF Art Fair, Brussels, Belgium |
| 2016 | Kunstraï, Amsterdam, Netherlands |
| 2016 | MIA Fair, Milano, Italy |
| 2016 | Setup Contemporary Art Fair, Bologna, Italy |
| 2016 | Fotofever - Carrousel du Louvre, Paris, France |
| 2016 | The Perception of Beauty - Group show, Sophie Marée Gallery, The Hague, Netherlands |
| 2016 | Femmes de Belgique - Group Show, Sophie Marée Gallery, The Hague, Netherlands |
| 2016 | FLORA, Musée des Beaux-Arts, Mons, Belgium |
| 2013 | The Perception of Beauty, Sophie Marée Gallery, The Hague, Netherlands |
| 2013 | Les Femmes de Belgique, Sophie Marée Gallery, The Hague, Netherlands |
| 2011 | Belgium Modern Art Exhibition, Hongqiao Museum, Shanghai, China |
| 2010 | 250/3, Galerie Antonio Nardone, Brussels, Belgium |
| 1999 | FLORA, Musée des Beaux-Arts, Mons, Belgium |
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