Known for his multifaceted and divergent approach to art making, with works that range from sculpture and installation to painting and drawing, Bosmans’ practice is a complex and heady concoction of high art and literature, popular culture, mythology, and anthropology, viewed through a queer and playfully minimalist lens that subversively observes and reinvents narratives that dominate the world around us. These narratives, which the artist prods, pokes and teases out, are significant not only in the artist’s personal world (or closet) but also have a universal resonance.
While the works in this show deal with this idea of desire, they are artfully furnished with humour, play and a kind of vulgar innuendo, and then sublimed through a minimalist aesthetic into something entirely new - ideas and forms synthesised into an alternative language that purposely avoids a didactic explanation, in the same way that, for so many during childhood, nothing is offered to lessen the burden of the queer experience.
All these ambiguities, contradictions and grey areas relate to the artist’s interest in the concept of the ‘monster’. “Think of the Chimera for example, which is a goat, a lion and snake at the same time. If you are more than one thing at the same time then it’s inexplicable, and therefore a monstrosity,” Bosmans says. But as fate would have it, the word ‘monster’, etymologically speaking, derives from the latin word ‘monstrare’ that means ‘to show’. Monsters are, in fact, examples that represent a wider issue. Monsters are demonstrative.