Denis De Mot’s paintings on pvc panel demonstrate an innate sense of harmony and elegance. In itself his work is in no way revolutionary; rather, it radiates a meditative calm. Of course, we would not have been able to look at these paintings with such fascination if there were not a little unruliness here and there to make the painted surface more interesting. Scratches, irregularities, peeling… It is as if the works on display are isolated fragments of a greater reality. The beauty of the rugged surface goes hand in hand with chromatic subtlety. Sheer class.
Yves de Vresse
Denis De Mot shows sequences of flatness. He signposts an earthly journey. And the ochre respirations, the red density tattooed on a light white ring, the vibration of a very tactile grey partition, the season of a clod of clay crumbling on top… everything speaks to us of presence in the world. The work of Denis De Mot is this planet in which streams bathe in humus. De Mot is not a realist; yet his sole and unyielding banner is seamed with furrows and earthly fervour. To be seen as a seal of promised fertility. Jo
Dustin, art critic
Denis De Mot faces and confronts in his own way, which is one of great patience. He admits to being slow; I would rather say wise, for this artist uses time passing like a data-base for never-finished research. On his neutral PVC boards, with discreetly presented colours, he connects time’s vestiges, signs and shadows, slight things, but essential, and the visitor slips off into the past. Exposing his work for several years now, he never tires of revisiting the imperceptible traces of life. He treats them in a reflective manner, paying particular attention to the final aspect which is as much continuous dissolving as it is dissimilation that deceives the viewer and leads him away from truths too raw and certainties too absolute. Far removed from bright colours, Denis De Mot, fiercely self-taught, concedes he “constructs time”. An exhibit in which time suspends its flight…
Anita Nardon, art critic