[alert_box TYPE =”信息”]卡斯滕Ohrt是Kunsthallen Brandts Klaedefabrik，丹麦的主机的导演站起来，停止“。这篇文章最早出现在展览的书。[/ alert_box]
1990年,Kunsthallen照相机Klaedefabrik组织d a large retrospective exhibition Rockens Billeder (Images of Rock), which contained works of European and American artists from the previous three decades. The exhibition included works dealing with the theme of rock music, as well as works by painters who were also practising musicians. One of the most memorable expressive works at the exhibition was the 1986 painting Crepe and Black Lamps by Don van Vliet. The composition of the picture is glaringly asymmetrical, with rolling, light, fluid human figures lining the lefthand side of the canvas and a compact, blue-black female figure with a disproportionally large head standing in the right half of the picture. The naked woman is leaning forward, out towards the onlooker. She has a black, spiky punk hairstyle and red, dilated eyes. Her face is heavily lined and distorted like a mask concealing dark powers. Her entire being conveys a mixture of uncontrolled hatred and paralysed dread. This raven figure can be seen as Don van Vliet’s view of the world of rock and the picture as a whole as an expression of the artist’s experience of people and their relationships in general. At the exhibition Rockens Billeder it was also possible to look at a wide range of works by other artists who sang the praises of musicians and concert-life in their various ways Don van Vliet’s paintings probably provided the weightiest counterbalance to this eulogy. At the same time as Don van Vliet depicts the human stage with both fear and disdain like, for example, in Crepe and Black Lamps he also allows animals to invade the world of his motifs: huge, fearful beasts as well as tiny, gentle frisking creatures appear in ever greater numbers and begin to contend for space with the nerve-ridden humans in the artist’s canvases. In many instances his pictures become more harmonious and peaceful, although still full of life, when his expressive emblems are centred on animal motifs than when he has his fellow men – or rather his foemen – as his theme. In recent years the world of nature and animals has taken centre stage in his paintings.
It is natural to see Don van Vliet’s development as a pictorial artist as being closely linked to his life as a musician and a poet. This versatile person has often been characterised as an outsider or ‘loner’ in relation to the cultural establishment, something which seems obvious when his unusually high developed synaesthetic talents are taken into consideration. Van Vliet seems to have no inner boundaries between experiencing in words, sounds or images. Not only does he combine colours so that you can almost hear them; the titles of his pictures are sound images that interact – or associate -with his pictures, rather as the colour green and the sound of a tuba can be associated by an artistically gifted child with a day of the week, such as Wednesday.
这似乎与感官的唐凡弗利特的就从一个高度外向的艺术形式，喜欢摇滚音乐来的更内向了移动和绘画艺术感一个孤独的世界开放的人很自然的。对于他所有的艺术作品显示其形成了一个从欣喜若狂到彻头彻尾的险恶范围心情紧张的不确定性。对外部世界的矛盾关系，必须使之无限刷及帆布容易的工作在孤独，而不是四周的观众。绘画允许唐凡弗利特沉浸在自己的性质和与他是如此取得了动物世界;从一个单调的酒店客房和球迷认为是一个摇滚音乐人的生活的一部分，在巡演时，成群的生生不息相去甚远。当唐凡弗利特油漆，他追求自然的美丽，有序的混乱和动物的生命，一方面和人对其他文化扭曲，道德败坏世界之间的二分法的无情自己深深的经历。
1990年的展会Rockens Billeder已提出唐凡弗利特的斯堪的纳维亚的观众是第一次。正是在这种背景下，Kunsthallen Brandts Klaedefabrik开始谋划这一激动人心的艺术家来参观的人在北欧国家展览较大的单独介绍。因此，这是非常高兴，我们 - 在画廊米夏埃尔·维尔纳，科隆，比勒费尔德艺术协会和英国皇家馆美术馆，布莱顿合作 - 现在能够把他的作品在展会上丹麦的土壤。
-Karsten Ohrt，主任，Kunsthallen Brandts Klaedefabrik