Klaus Verscheure

Klaus Verscheure, born 1968, is living and working in Pottes (BE)

In 1989, Verscheure graduated as an animator from the Royal Institute for Theatre, Cinema and Sound (RITCS) in Brussels.

For years, Verscheure has worked as a director on many well-known Flemish television series. Lately, however, he has been making a name for himself as a visual artist, Verscheure has exhibited at home and abroad and his work can be found in both private and museum collections in Belgium, France, The Netherlands, Great-Britain, Los Angeles and New York.
His first book was recently published, entitled ‘Black is a Color’.


His solo show ‘Black is a Color’ runs until June 22, 2019



The trees that Verscheure paints are not simply the subject, due to their pictorial and picturesque meaning. The mountainous landscapes are not there for the landscape and the dwellings nor for their architectural pretensions; he paints them because of what is no longer there. Absence plays a major role.

Verscheure usually uses black paint; otherwise, he uses red or blue paint. It’s a deliberate choice. By limiting himself to quasi-monochrome, the artist creates a certain detachment for the viewer, while also distancing himself from reality in some way; this allows him to paint that reality. After all, we are swamped with colourful and moving images. Sometimes the silent image can intrigue more strongly. When we look at his tree portraits, because that’s what they are, portraits of those intentional trees. Only the tree and part of the surroundings are revealed, rather like a neutral fact. Still, the tragic nature is somewhat present. Klaus Verscheure paints with very fluid paint.,This produces trickles of paint that are not removed. They originate spontaneously, sometimes they’re even desired, and help de ne the image we see. If we also look at a few works of sandaled feet, it’s difficult for us not to associate them with victims of the lynching. Objectively speaking, they might just as well be the feet of someone who is relaxed, sitting on a tree branch, letting his feet dangle. That ambiguity is characteristic of Verscheure’s work; it is always present and everywhere. He never paints gratuitously.

Some portraits are painted on large (150 x 185) pieces of paper; others are smaller and on canvas. On paper the paintings are framed like a comic strip; on canvas there is only the stretched fabric as a border. These are all elements that affect the spectator’s perception and manipulate his or her emotions.

Don’t expect Bosch-like faces dripping with evil. What makes this series of portraits so fascinating is that they look like regular people. They live in your neighbourhood; they’re people just like us. That recognisability, that normality probably makes the portraits very intense.


VERSCHEURE - Face-Pottes#79_40x40cm_2018

VERSCHEURE - Smiling_Face#97_150x100cm_2019

VERSCHEURE - Smiling_Face#77_2018_150x100cmVERSCHEURE - ZICHT

VERSCHEURE - zicht-achter

VERSCHEURE - Vulture#108_2019_41,7x29,5cm

VERSCHEURE - Smiling_face_juni'10_175x150cm

VERSCHEURE - Smiling_face#42(of48?)_2017_180x150cm

VERSCHEURE - Pieta#1_2010_172x150cm

VERSCHEURE - Trees#104_2019_44,8x31,5cm

VERSCHEURE - Mountain#107_2019_44,8x30cm

VERSCHEURE - Trees#3_2010_150x150cm

VERSCHEURE - Mountain#7_2017_180x150cm




VERSCHEURE - Trees#65_2018_90x70cm

VERSCHEURE - Crime_Scene#76_2018_90x70cm

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14EMOTIONS/Allegoria Via Dolorosa (video)

KlausVerscheure produced his masterly video installation entitled 14EMOTIONS/Allegoria Via Dolorosa in 2013.

The work came about at the former power station in Zwevegem, where both the filming and the presentation took place. Verscheure links an emotion to each of the Stations of the Cross in the Christian tradition. He relied on several professional dancers and actors as well as numerous voluntary extras for the lm. Each fragment of motion that symbolises a Station lasts only 10 seconds, but it’s played back so slowly that each station lasts exactly 14 minutes. The Stations are played on vertical screens in a large space and are supported by a haunting composition by the singer- songwriter Tom McRae, performed by the Spectra Ensemble.

All religious connotation has been excised from the Stations of the Cross and they can appeal to everyone. But, religious or not, the mere presence of the cross is enough to establish a link to the Bible story.

The emotions portrayed are contempt, rage, compassion, gratitude, disbelief, powerlessness, pride, fear, resignation, sadness, consolation, desolation, bewilderment and rebellion.

(part of a text by Daan Rau, published in ‘Openbaar Kunstbezit Vlaanderen, 2018)

VERSCHEURE - 14_Emotions



Adam&Eve/Eve&Adam (video)

The issue of sex and gender is artfully addressed in a very simple, but very serene way, on two vertical video screens supported by a composition for two cellos, again a collaboration with Tom McRae.

Verscheure’s installations link the present with the past. He addresses us through our roots. He criticises without being polemical. He denounces the sense of guilt a number of religions have imposed on us, and lets us look at ourselves and the violent society we live in. He does this simply by creating beauty. He does that when painting, he does that as a filmmaker and he does that fantastically.

(part of a text by Daan Rau, published in ‘Openbaar Kunstbezit Vlaanderen, 2018)

VERSCHEURE - Adam&Eve-Eve&Adam