1911 - 2000

A mysterious artist who nonetheless presents an extraordinarily controlled, totally accomplished art.
The man who hides behind this assumed name with alchemy overtones, is a very reserved person who refuses the highly touted triumphs. It is not a matter of shyness but a need to extricate himself from the daily routine to enhance his energy and creative powers. Only he can control his creative force and draw a pictorial quality from this internal domination that tends towards perfection.

Bellor's inspiration seems to agree with the mental quests of the surrealists. His work is often defined as a supplement to that of Magritte, Delvaux or Labisse. This image is too simple to be complete. Bellor does not try to render the impossible roaming of the mind tangible, but to perceive the total reality of a fraction of the Universe. A visionary of what is sensitive, he remains immensely attached to the rendering quality. There is an old knowledge in his painting which, far from doing a pastiche of the work of the Flemish masters of the 15th and the beginning of the 16th centuries, penetrates, with magical acuteness, the core of their need to paint. The result of this operation is a resurgence, a sort of communication between references from times that have changed and the needs of creative artists today.
The link is very strong between the astounding elaboration of painters like Van Eyck, Van der Weiden, and this man today, who tries to convey intimate timelessness.

A mannerist resurgence too, reminiscent of the great masters of the North, such as Boeckland and Goetzius : the prized fragility of a balance in Bellor's characters crosses the boundary that separates life from the beyond, with a theatrical magic that emanates concurrently from ritual and dance. The part of the sacred is therefore intense - it runs in the fiery draperies and diffuses its mysteries through discrete transparency: it is lit in the love of the body, by its amber carnations, where the glazes work like caresses. The cult of woman in hieratic forms, which seems to come from millennial temples.


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