Biography

Michèl Poort (1960-     )

Michèl Poort was in the 80’s one of the founders of sport art. Many people are familiar with his realistic work.
In the 90’s he created his own colorful style where people and animals were the focus.

Then dawned a period of experimentation, until he allowed himself- in the beginning of the 21st century-to be inspired by the heart: Love under Construction was born. Thanks to his new love and the birth of his child is the studio one beating heart.

After that, Poort had a successful excursion for three years in which the tulip was the focus.
It resulted in a unique series that are bundled in his book TULP. But Poort cannot let the love go and the heart is again the conversation of the canvas. In the series Dropped, Black & White, Get Stoned, Love Garden and How much love do you need he knows as no other how to translate the heart in a whole unique manner.

Dropped- letting go, watching from a distance
Black & White - simplicity, pure and honest
Get Stoned - complete surrender, nature
Love Garden - paradise
How much love - deep, warm, pure

 

Interview

His studio is one beating heart. In the large space below, his works become peaceful after the creativeness that they experienced on the floor above. No single canvas is created from a specific theory but from the experience that often has a lot of layers.

Michèl Poort (1960-           )

When the door of his studio closes after you, you step into a world called chaos. An unabashed accumulation of still lifes.  Whatever you touch or see, there is paint on it. Legitimate proof of an artist who loves life and who values art above matter.

 

Even before my tour begins, my preference is asked: red or white? A light from a large wine cabinet illuminates the best wines.  Canvases, paint, brushes and wine may never be used sparingly according to Poort.

Armed with a bottle of Limoux 2007 we ascend the steps upstairs where it all happens. Many of an artist would be jealous of this space in which God can watch through two enormous windows. The bottles are set on the massive stone kitchen counter and two large Bourgogne glasses are pulled from out of one of the cabinets. I sink into one of the leather chairs sitting at the five meter long wood table and after toasting, enjoy the wine in the environment of this “bon vivant”.

A look at the floor shows that this plays an important role in the creative process. From the original gray there is little over.
Two large easels are ready to bear the canvases. Poort confesses his preference to paint from the wall. The white gives him more peace than the confines of the easels.
A cart full of paint of the brand Golden is in the middle of the studio, just like the water containers, in which the brushes impatiently soak. Poort does not want to be disturbed during the creative process by a lack of material.
In the corner is a bespeckled Canon D50 on a tripod. He regularly photographs his work during the process. The use of another medium helps him to take distance from his work and to re-discover.
He does this at home, as well as the internet, since the studio must remain free from the outside world. Music is important for the artist and is noticeable by the sublime sound. Mendelsson sounds as pure as if the orchestra is playing downstairs.
A second glass is filled. I close my eyes and feel pure freedom.

Still in this chaotic world, the artist who lives in Amsterdam has an iron discipline. Similar to office hours, at 9 o’clock in the studio his first espresso is pressed powerfully through a Roma cup, while he changes clothes and the motorized windows are opened. He has had a half hour to prepare in the car for the colorful day.

Poort is not afraid of the virgin white canvas no matter what its size. He literally attacks the canvas. Ideally with six brushes in one hand at the same time. Without rhyme or reason the paint is trusted to the canvas (and floor). The form must spontaneously originate on the canvas. It is an art to discover it.

In the past he concentrated only on one piece, now he is busy with several canvases at the same time. What never changed was his hard work, Poort only accepts the best. He is unashamed to rigorously go over a piece after it appears to be finished. The great works may, after hanging in his own gallery for a limited time, eventually fly away.

I take some more cheese and walk with a half full glass past all the beautiful works before they are gone…

 

Giles Verburgh