1967 - Dendermonde
Thomas Bogaert studied Animation Film at the KASK in Ghent. Fascinated by movement, he paints in a rather cinematic way. One of his teachers, Raoul Servais, named Bogaert's work as “An example of meeting point between cinematography and painting; not as moving painting, but rather as a painted movement ”.
Movement is central in Bogaert's work. He registers this by means of an 8mm camera, often capturing simple scenes. Sometimes these moving images become part of the work, such as the films he made of a red cable car cabin. He projects these on different surfaces, all of which depicted a mountain landscape. The superimposed images are thus merged into one throbbing image and the fact that one of the two is stationary and the other is moving is not disturbing, since the mountain is itself an immobile object and the cable car logically moves through this mountain landscape.
In most cases, however, images extracted from the films form the basis of the work.
These film stills often take on an almost abstract character due to the recorded movement they represent and possible enlargement of the images. Bogaert further processes them in various ways, by attaching them to a solid surface and then enamelling, varnishing or covering them with a layer of polyester. In this way, the images are turned into objects and more distance is created between image and viewer. This distance is further enhanced when Bogaert makes the original films with a super-8 camera with telephoto lens and emphasizes this by presenting the images in a circular shape.
Bogaert Thomas, On the Way to the Peak of Ecstacy, 2010.
Resin and filmstill on canvas, 72 x 33 x 23 cm.
Bogaert Thomas, The Jump, 2015.
Small neon, 60 x 80 cm.