Christine Comyn

Looking Back by Christine Comyn
Little Secret - Canvas by Christine Comyn
Little Secret by Christine Comyn
Relaxing  - Canvas by Christine Comyn
Relaxing by Christine Comyn
Feel Like Dancing - Canvas by Christine Comyn
Feel Like Dancing by Christine Comyn
After The Ball - Canvas by Christine Comyn
After The Ball by Christine Comyn
Dawn (canvas) by Christine Comyn
Dawn by Christine Comyn
Affected By You (canvas) by Christine Comyn
Affected By You by Christine Comyn
Beauty In Blue (canvas) by Christine Comyn
Born in Tielt, Belgium in 1957, highly-respected figurative artist, Christine Comyn was impressing family and friends with her drawing and painting ability from the word go, demonstrating what can only be described as a natural aptitude for, and leanings toward, art. With this in mind, her parents sent her to the Saint-Luke Academy in Ghent, which would serve to refine and enhance her creative talents and prepare Comyn for a potential career within a design-based field. With her studies behind her, Comyn gaining employment for the Lannoo book publishing company where she worked in the guise of an illustrator between 1978 and 1983. During her time there, and at the tender age of 24, Comyn also became a lecturer in illustrative art methods at the Academy of Modern Art, situated in her hometown of Tielt; a position that she only relinquished as of 1997.

Having long been keen to express herself and her art more freely Ė more so than the structured discipline of illustration would necessarily give rise to ĖComyn chose to turn her back on commercially-deigned illustration, and in 1983 her resolutely art-for-artís-sake journey began as she took to practising and perfecting the delicate and unpredictable technique of watercolour administering. Displaying the very physical elements of figurative art, Comynís predominantly female subject matter were observed by Mr Willy Bosschem, the Director of the Academy of Modern Art in Ostend, who on witnessing Comynís elegantly defined compositions for the first time invited her to showcase her talent in Ostendís Thermae Palace Hotel in 1988. Acknowledged as Comynís debut solo exhibition, the event was an unmitigated success that resulted in the fledgling artistís entire collection of watercolours to date, selling out then and there.

This revelationary period gave Comyn her creative wings so to speak, affording the artist conviction in her own ability to throw caution to the wind and explore and experiment further, rather than remain in her figurative art comfort zone. Where most would have basked in this new-found public radiancy for a while, Comyn instead set about creating an alternative breadth of work that expanded on what had gone before. Having said that, and rather than devaluing the need for some semblance of structure and rigidity to her compositions, Comyn elected to venture down the colour and rhythm path of artistic self-enlightenment next. The direct result of which saw a riotous explosion of colourations and movement within her figures, which combined layers of energy and dynamism with logic and balance.

Comynís work was by now gaining recognition and column inches far and wide, something which was confirmed by an approach by the LíOreal Cosmetics Group in 1991, inviting the artist to produce a series of paintings influenced by their then new fragrance line. Comynís visual language translation of complex aromas exposed her work and style to an unprecedented and broader demographic than at any time prior, and subsequently her name was propelled up the ranks of the contemporary art worldís new order.

By the mid-1990s Comynís work had evolved still further, with her figurative style integrating man and woman with even more pictorial vim and vigour, with a hefty dose of empowering symbolism thrown in for good measure and value added dramatic effect. She was also uniting characters depicted in her compositions via acrylics as well as her default setting watercolours which sheíd made her own and to work for her ever since she took the plunge to turn professional. Comynís command of her chosen mediums has worked in her favour and sought to take her contemporary figurative works to even greater heights in recent times, and has overseen introductions to newer audiences far and wide in Switzerland, Italy, Germany, Venezuela, Columbia, Russia and the United States.

By 1997 Comyn had had her first monograph published, and in tandem with this title launch the Casino of Ostend held an exhibition of the artistís retrospective work, focussing on pieces originated as far back as 1988. So as to run a comprehensive showcasing of Comynís previous compositions, many paintings had to be recalled from private collectors who were only too happy to contribute their highly prized studies on a temporary basis. In the same year, Comyn also received the National Prize of the Belgian reference yearbook; "Artists and Galleries". Not 12 months on, and Comyn creative endeavours were honoured by her participation in "Le Prix International d' Art Contemporain de Monte Carlo" by a jury of renowned artists like Adami, Folon, Botero and de Seradour and under chairmanship of Princess Caroline of Monaco.

Again in 1998, the artistic director of the Royal Ballet of Flanders personally requested that Comyn should execute a series of paintings inspired by ballet, affording Comyn the opportunity to capture the ballerinas during their practice sessions and giving her behind the scenes access to performances at the time. On the back of this, Comyn held an exhibition at the New Theatre in Antwerp, and a special production, titled "Looking through Glass" by the Royal Ballet dedicated to Christine Comyn's private collectors. High-end lifestyle publication, Exclusief then commissioned Comyn to create a bronze sculpture to be awarded to some of Belgiumís most revered creative talents during a special awards extravaganza, which she duly obliged and presented as a graceful female figure, cast from 20 separate pieces of bronze. To cap this, Comynís second tome was released in 2000; a large publication that comprised of 120 colour illustrations and texts penned by art critic, Frans Boenders.

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