In my art, I'm someone who uses 'the means at hand,' that is, the instruments I find at my disposition around me, those which are already there, which had not been especially conceived with an eye to the operation for which they are to be used and to which I try by trial and error to adapt them, not hesitating to change them whenever it appears necessary, or to try several of them at once, even if their form and their origin are heterogenous—and so forth.
I believe that a painting is not an artwork unless it hides from the first comer, from the first glance, the law of its composition and the rules of its game. An artwork should remains, moreover, forever imperceptible. Its laws and rules are not, however, harbored in the inaccessibility of a secret; it is simply that they can never be booked, in the present, into anything that could rigorously be called a perception.” Working with oil and “old masters” techniques each of painting designed by Wilhem von Kalisz appears like a hand to hand with the material from which arises a revelation of the deepest part of the human being through shapes and color. Much of Wilhem’s work revolves around the creation of monumental portraits as well as recreation of historical paintings. The choice of colours, and composition are always done with the aim of showing humanity his vision of the world beyond appearances.
Self taught artist, I believe like Michel Foucault that “schools serve the same social functions as prisons and mental institutions- to define, classify, control, and regulate people.” Born in Belgium, the sinuous road of life has taken me to Russia, Pakistan, Congo, China, UK and currently Netherlands.
In opposition to most contemporary artist, I’m not playing the comedy of being “revolutionary”, trying to shock my audience and pretending to “shake the foundations” of society through my art. I think that those attempts are meaningless and characteristic of a “new academism”. Personally, I’m trying to honour an old and non trendy value: beauty.