If the term 'painting installation' had not yet been included in art criticism, the concept could be introduced for Hilde Overbergh, who succeeds in challenging our relationship to the concept of painting as a diversity of fragmented form concepts. In order to gain an insight into the extreme originality of her visual language, we should analyze her working method of compositional unravelling. The decomposition as a guideline to understand her idea of painting composition.
In her work process Hilde Overbergh unravels the naked canvas in a multitude of alternatives to linen. She goes looking for the other raw material, with a different resorption capacity and alternative tension field on which and within which the paint has different consequences. She literally folds up the carrier, sews it and layers it after infiltrating, soaking and colouring it. Her works of art are abstract form analyses made up of a grid of structured motifs combined with the individuality of the paint fumes. Colour spots and areas form the rhythmic balance of the artistic composition.
Hilde Overbergh also has the urge to depart from the two-dimensional surface. The space of conceptual composition expands to a sculptural three-dimensional reality. This gives her the opportunity to realize amazing visual vistas. Within this painting space she designs colourful material sculptures, with an accumulation and succession of fabrics and textures, which in their colour association initiate a kind of compositional forms database.
Hilde Overbergh is driven by an extreme freedom of installation and assembly to confront the painted canvas with formal sculptures. As a conceptual abstract painter she ensures an acceptable departure from our urge to perceive the concept painting as an interwoven whole of layers of paint and to be able to view it as a dissociated whole of materialised sculptural composite fragments.
Moreover, these painting installations create an intriguing spatial load which would not be possible with the use of paint alone. A sensory scenography of painterly interventions and interchangeable objects in which perspective is finally no longer limited by the canvas alone, but expands completely as a support in the exhibition space.
Her works stimulate the viewer to get rid of the unidimensional interpretation of the art object. The multitude of interpretations throughout the composition of interchangeable form elements gives the viewer the freedom to appropriate the work of art in a scenography of preferences, without necessarily having to accept a self-evident layeredness. An engaged artistic statement in a euphoria of colour.