Art projects

Already in the years preceding the Canon projects, I was actively involved with schools, youth organisations, institutions for the disabled and diverse groups of adults. I developed my own vision on methodology and didactics, christalized from a diversity of experiences. When, as an artist, I am a guest in educational circles, I characterise myself as being a confrater, a teacher in creative ability, a description which should not be considered pretentious but which serves to add clarity and equilibrium on a pedagogical level.

In this lies the refreshing factor of a confrontation with people from the non-regular circuit. We are professional specialists without the qualities of lecturing pedagogists.   The main difference between a work of art and theory is to be found in the fact that a work of art forms a new entirety built up from the chaos of the elements in which this entirety is a goal as such.

Then again, the communicative power of a work of art determines its value. Theory, on the contrary, originates from an existing structure aiming at the interioralisation of knowledge as its ability. This is why I dare to compare projects of arts with mental gymnastics, or be it in a psychological sense the retraction of the capillary vessels. Staying in motion is necessary and which discipline is more pleasing than the arts which we are all captive for through creative ability!

Similar to Latin and Greek, art also can be practised in function of general education, the first two of which serve to enrich structure and hygiene; and art, which cultivates personal growth and culture. Naturally there is a multitude of different angles when referring to art. Merely describing the concept often encounters difficulties by reason of its own implications. If we already know what art is, we gradually see more expressions of art of which we rightly wonder whether or not they are still art. The difficulty is clear: is a coherent definition possible? Nevertheless, these reflections are necessary for us, educational project artists. We are frequently confronted with questions regarding this theme. The hardest being who is or who is not an artist, who is great and who is insignificant, where art stops and kitsch begins, what art is and what is not, what is contemporary, reactionary or even (insignificant, bullshit, rubbish …) .

Personally, I choose to keep the division simple and didactic. An artist is a specialist in creative ability and he uses all his other abilities, conscious or not, in function of this. Everyone builds a hierarchy of his abilities in order to realise himself, each in his manner. In this sense, being an artist is as much of a calling as being a baker or a doctor.

The basic elements of the artist are present in every human computer, one can easily notice this with toddlers. There are colours, notes, letters, numbers and shapes which we then play with. Now we consider the difference between a creating and a performing artist, such as the composer and the musician or the writer and the actor. A creative artist stands naked in front of his material whereas for a performing artists, a human intervention preceded.

Nevertheless, the basic element can be a poem or a score. A poem can be transformed into a musical act, a score into a dance performance. Every time again a new entirety, a new creation.

What is to the artist is also applicable to the school projects. We are challenge to apply a personal approach, even when in group setting. Dare to contradict established patterns, dare to think back, dare to refresh, dare to seek a personal formulation.

Also expressing in a aesthetic way, emotional and idealistic structures which can only be personified through the arts, is an important goal of the profession.

Multiple times, I have been made attentive to the fact that a group structure changes completely during a session. Youngsters, who would otherwise be extremely introvert sometimes become leaders and vice versa. Also, young people often thank me for what they have experienced for themselves. This leads me to conclude that art projects are a meaningful addition to sometimes extremely charged school schedules and that they are not an extra burden. A statement I have often heard.

Kosovo Zottegem 1999
Totem en Wigwam Gentbrugge 1998
Spinnen Oosterzele 2000
MultiCulti-ArtWalk Oosterzele 2002
Vlinder EDUGO Oostakker 2002
Olifanten GILO Scheldewindeke 2019 | 

Giraffen. GILO Oosterzele 2010

In 2010, pupils of the municipal primary school GILO crafted five giraffes out of iron and plaster. Everyone became so attached to the creatures, which were meant to brighten up the spring festival, that they remained permanently at school. Three years later, when the giraffes were refreshed, they were given bright colours. Four of the five at least, as one of them appeared to be lost.
Some parents commented on their return:
‘You can definitely give that ‘more than a big thumbs up’ hooray! The giraffes have indeed become a fixture at the GILO and it is good that they can stay there!’
‘In the name of all parents with children at the GILO, I think I can surely give more than a big compliment to artist Lucas Van Haegenborgh. He made the creation of these beautiful family giraffes possible with the help of the children, teachers and some parents. They have since become the school’s signboard. Thank you Lucas!’

Pegasus. VTI Lokeren 2003

This large cultural project, involving all classes of metal at VTI-Lokeren, came out of a brainstorm with the teachers. Pegasus, the winged messenger in ancient cultures, was realised at an incredible pace by hundreds of hands in four days. It became a monumental steel steed four metres high, six metres long and another six metres from wingtip to wingtip. The sculpture has Lucas Van Haegenborgh’s signature in all its facets. As a matter of fact, he had made the head all by himself.

Aanstormende Stier. GITBO Keerbergen 2005

This sculpture was another grown Canon Culture cell project, this time for a smaller group of metal pupils in Keerbergen. As with Pegasus, Lucas used the Rubensian method: the master sets out the lines, the pupils thicken them.
The school signed an agreement – so it could not run off with the intellectual property as they had tried to do in Lokeren – and yet years later it turned out that the sculpture had been moved to the hall of the first floor of the town hall in the hall. It took many months of effort to add the name Lucas Van Haegenborgh to it.

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