Frédéric Halbreich Belg, 1962
Unique lacquer painting effect
10kg
39 3/8 x 39 3/8 in
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Aluminoïde Hephaïstos by Frédéric Halbreich is not simply a painting—it is a force captured in matter.
On a luminous metal surface, gold ignites like molten light, recalling the divine fire of Hephaestus, the ancient god of forge and transformation. The black gestures, raw and instinctive, carve through this radiance with a striking authority. They are not painted—they are unleashed.
There is a tension here: between control and abandon, light and weight, refinement and primal energy. The metal does not just support the work—it breathes through it. It reflects, it vibrates, it changes with every movement of the viewer. This is a living surface, constantly reinventing the painting in real time.
Halbreich’s gesture is immediate, almost visceral. You feel the speed of execution, the decisiveness, the absence of hesitation. And yet, within this apparent spontaneity lies a rare mastery: every line holds, every balance resonates.
This is a piece that commands presence. It does not decorate a space—it transforms it. It draws the eye, anchors the room, and invites a deeper, almost meditative contemplation.
For a collector, Aluminoïde Hephaïstos is a statement: bold, contemporary, and unmistakably unique. There is only one. And its power is undeniable.
Provenance
We know the works of Frédéric Halbreich in lacquer, medium of which he is indeed the only artist to have developed his own technique of lacquer and to sparkle the preciousness in the pure art of his abstraction.
The material support of this journey towards elsewhere is lacquer, a means of expression that sets Frédéric Halbreich apart from any painter past and present. It also differentiates him from the great models and references such as Franz Kline and Pierre Soulages.
"The art of lacquer in pure art".
What interests him is the light.
In his lacquers, he brings it out from inside the painting, through the vector of transparency.
He calls "sacrophage" the support on which he creates his lacquers.
Besides these, there are his canvases: oils and acrylics where he derives his expression more from gesture.
Like lacquer work, these pictorial layers (pigments) – ten or more in number – each require an appropriate time to dry. Then follow new meticulous sanding intended to eliminate scratches or accidents.
At the same time, lacquer acts like a mirror, in which the spectator may discover a reality far beyond his own reflection, even a possible answer to his own existential questions.
As an indispensable counterpoint to that mirror which sends the pictorial even beyond abstraction, here are mat surfaces, paradoxically less black in their opacity.