Frédéric Halbreich Belgian, 1962
Unique lacquer painting effect
6kg
55 1/8 x 11 3/4 in
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Further images
Aluminodrame by Frédéric Halbreich is not simply a painting — it is an encounter.
At first glance, its intense red presence feels immediate, almost visceral. A vertical field of color — pure, vibrant, alive. But as you approach, something unexpected happens: the surface begins to shift. The lacquered aluminium captures light, reflections, fragments of your own space… and returns them transformed.
The red is not just a color — it is energy. It flows downward in a controlled, almost organic gesture, as if gravity itself had been painted. The subtle dripping at the base introduces tension: between control and release, structure and emotion.
Halbreich works at the frontier between painting and sculpture. The aluminium is not passive — it breathes, it reacts, it amplifies. The glossy varnish creates a depth that feels almost liquid, where the surface becomes a threshold rather than a boundary.
Placed on a wall, Aluminodrame does not decorate — it defines. Its verticality elevates the space, draws the gaze, and anchors the architecture with a powerful yet refined presence. It interacts with light throughout the day, continuously evolving — a living artwork.
This is a piece for a collector who seeks more than aesthetics. It is for someone who understands that true contemporary art is not static — it exists in dialogue with its environment, and with you.
To live with Aluminodrame is to live with intensity, elegance, and presence.
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.
Exposities
April 2026: "Aptère" group exhibition, Art Yī, Brussels, BelgiumWelcome Offer for your 1st Art
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