Hendrik Willekens

« Depuis tout petit, je dessine dans ma chambre. (…) À l'époque où je voulais devenir acteur, je dessinais moins et je me mis à écrire davantage jusqu'à ne plus vouloir devenir acteur et ne plus vouloir écrire. Et je fus perdu pendant quelques années. Il y a trois ans, j'ai redécouvert le plaisir de dessiner. (…) La relation entre le dessin et la performance m'a donné un nouvel élan. J'ai réalisé 20 dessins en tenant deux stylos fixés au mieux sur une feuille de papier aussi longtemps que je pouvais. Mes yeux étaient fermés. Graphiquement, ces dessins ressemblaient étrangement aux paysages que je dessinais constamment. Et mes paysages devenaient plus arides. Je travaillais avec des stylos, des crayons, des marqueurs. Je ne connais pas la couleur. Je trouve la couleur difficile. Je travaille souvent sur une feuille A4 que je colle à mesure que le dessin se forme. La pratique vient à moi, je n'ai pas à m'y immerger. Il n'est pas rare que je dessine avant le petit déjeuner et le premier café. »

‘Sitting in my room drawing, I do since I was small. I looked out of the window – through which I could only see the grey-scale of the sky and a few branches – and I drew. I always kept doing it. When I was an adolescent I filled sketchbooks that I then lended my friends only to admire. When I wanted to become an actor, I drew less and started to write more, until I didn’t want to become an actor anymore and didn’t want to write anymore. Then I was lost for a few years. Three years ago I discovered the pleasure of drawing again. I made my primordial drawing that I still interact with. It’s a geometrical landscape of 2 or 3 meters broad and about 1 meter high. Afterwards I made a new drawing, and then a new one, and then a new one, etc.. The relation between drawing and performing gave me new input. I decided to go into public space, and I also had some kind of idea about the integrity of art/of an artist. I made 20 drawings by holding two pens as fixed as possible onto a piece of paper for as long as I could. I had my eyes closed. Graphically these drawings curiously resembled the landscapes that I kept on making. Some unequivocally were landscapes as well. And my landscapes became more barren themselves. I work with pens, pencils, markers. Have no knowledge about colour. I find colour difficult. I often work on A4 paper that I glue together as the drawing grows. The practice finds me, I don’t have to put myself to it. It is not unusual that I draw before breakfast and coffee. I find the table on my way to the kitchen, sit down, start. It just happens that way.’