Belinde de Bruyckere was Born in Gent, Belgium on 1964,currenly Lives and works in Gent.
This two-person show consisted of separate installations by Peter Buggenhout and Berlinde de Bruyckere, a married couple who live in Ghent, Belgium. She is the better known of the two, because her work in two recent outdoor shows in Holland provoked minor controversies.
Berlinde de Bruyckere is a young artist from Belgium. The duality of love and suffering, danger and protection, life and death continually arises in her work. In her horse sculptures she covers the casts of horses’ bodies with skins and models them into poses. Berlinde de Bruyckere says of the horses’ heads, ‘at the last moment I decided I didn’t want to see a face , nor a muzzle, I sometimes only want to keep a reference to the ears, which are somehow what make it a cuddly animal.’

One of De Bruyckere’s first sculptures with blankets consisted of a simple stack of folded blankets on an unsteady wooden stool (untitled, 1991). The order and balance of the stack are almost literally undermined here by the tremendously tilted base. Dekenhuis (House of Blankets) from 1993 is a metal cage over which blankets have been draped. One corner of the cage remains uncovered, but the ‘house of blankets’ is inaccessible and offers only the suggestion of shelter. Berlinde de Bruyckere says the following about the use of blankets in her work: “To me, a blanket is a symbol of security. It has a soul, which usually has a positive connotation. A blanket tucks you in; you feel like the child sitting indoors while it’s raining outside. I also use the blanket as a negative object. You can give someone so much love and safety that it smothers him, that he can no longer find himself. Lying under a pile of blankets can be disorienting! I like to play with that ambiguity in my work.

SOLO EXHIBITIONS

2007
• DA2 Domus Artium, Salamanca

2006
• Hauser & Wirth London, London

2005
• La Maison Rouge, Fondation Antoine de Galbert, ‘Un’, Paris
• De Pont, stichting voor hedendaagse kunst / Foundation for Contemporary Art, Tilburg

2004
• Hauser & Wirth Zürich, Zurich

2003
• Galleria Continua, San Gimignano

Conclusion:
In this exhibition at the Flemish Cultural Center in Amsterdam, there could be no such confusion. De Bruyckere constructed a rectangular, three-level metal-and-wood platform. Scaffolding elements protruded on three sides, as if assembly had stopped in process. The lowest level was empty

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Find more information about Belinde de Bruyckere Exhibitions or looking for his paintings please visit us on
http://www.saatchi-gallery.co.uk/artists/berlinde_debruyckere.htm