Arne Quinze continues to spread his works far and wide and each one is instilled with his deep concern for bringing culture to the people. The challenge of unifying art and culture on a usable human scale is what he brings with his preoccupation with communicating in urban situations, such as in the heart of bustling cities.
Do you agree that your installations are objects made for a useful purpose?
Contemporary culture is often questioned only in specific institutes like museums or opera houses. However these are only visited by a small part of society. I want to stimulate everyone to take a fresh look at cultural evolution. My biggest artistic driving force is to invoke communication and social interaction. With my large-scale constructions I hope to bring a new spirit to urban surroundings and architectural contexts, luring people into these unusual spaces and making them rethink their daily environment.
What is the status of colour in your work?
Red colours are synonyms of the evolution of human characteristics. There is no colour as contradictory as a red shade. Nature uses red to attract and at the same time repel. Red can be threatening or tempting. It’s the colour of life. It's a paradox just like man.
In a world drowned by information, is bringing 'culture' to people still important?
There are only two measures in life : culture and research. Without these, evolution is nonsense. A philosophy that I actively support and define in my work is the strong cultural foundation of togetherness. As a contemporary artist, I consider myself fully responsible for the society we live in and therefore fight every day for equality, education and freedom.
Is there a scale limit to your work?
Limits don't really exist. There’s always a way to evolve to a next phase. Currently, I am setting up approximately 30 big metal and wooden public installations around the world. For me each of them serves as a purpose to bring me closer to my goal - to create true symbols for humanity and showing cultural achievements at a given moment in time. We tend to forget the importance of these great symbols of humanity like the Eiffel Tower, Landowski’s Christ the Redeemer, Giza’s Pyramids. There is still such a long journey ahead of me.
Could you tell us more about your construction for the Mons' European cultural capital event in 2015?
The construction will take approximately three weeks with my construction team of 20. The final piece measures approximately 85 by 40 metres and 18 metres high, entirely made of 35.000m of pine wood and 100.000 screws. Construction runs from November 3rd to the 21st, 2014.
Is Belgium a special place for you?
With construction sites globally, an atelier in Shanghai and soon , one in Sao Paulo, Belgium has become a resting stop between places where I can recharge my batteries and catch up with my lovely family.
Belgium has been a creative land for artists and designers, is that still the case according to your experience?
We have so much artistic quality in our country but we always seem to be too critical instead of being supportive. Just look at our neighbouring countries where artists are proudly supported and pushed globally. That's a shame because we miss out on a lot of opportunities and great emerging projects.
Kunty Moureau for Belgian Boutique 2014