Kunst en cultuur op Ric’s Boten


Vanaf het begin hebben Ric's Boten

de culturele en artistieke aspecten in onze samenleving.

in het daglicht gesteld

Erik Pevernagie, voorzitter en beeldend kunstenaar,

die tentoonstellingen in Parijs, Berlijn, New York, Amsterdam, Dusseldorf houdt,

stelt ook meerdere malen tentoon op Ric's Art Boat..
Hij nodigt Nicolas Vial van "Le Monde" uit, die zijn schilderijen en tekeningen tentoon stelt in Ric's Art Boat.

Claude Lelouch en Atom Egoyan houden er conferenties, Tom Barman (dEUS), ,"The Kooks" nemen deel aan evenementen.
Hugo Claus, Axelle Red, Benoit Lamy, Jan Verheyen, Laurent Busine (MAC), Albert Baronian (Art Brussels) en talloze anderen hebben deelgenomen aan de magie van Ric’s Boten.


Hoe Erik Pevernagie via de kunst

de wereld leert in te schatten.

Selection at 


Bonhams, London

Post War and Contemporary Art

September 2009

« Living on Probation »

                                Erik Pevernagie


Erik Pevernagie is particularly known for his way of expressing

  his artistic philosophy.

  Through his pictorial representation the viewer can discover a

  range of typical facets of our current society.

  Behind the "matter" one can discern the “idea". Details of life are

  used to open doors to universal values.

  In this work he is engaged with the problem of aids.

  He has been confronted with victims of aids and has understood

  that they have been predestined “not to be lucky”.

  He has decided to feel actively with those people who have been

  condemned to live on probation.

Selection at

Christie’s, New York

Rockefeller Plaza 20

September 2007

« Crépuscule du désir »

Erik Pevernagie

Crépuscule du désir: Twilight of desire.


People feel so tired and burnt out by consumption. Says Pevernagie: “They are no longer able to invent themselves. At most, they are prepared to call upon some gadgets in order to create a pretence of desire. But this is only deception. Nothing can make them want anything or anybody anymore. That feeling of wanting or longing has become absent. That specific feeling is definitely dying.” The artist senses the decline of emotions. No time left for long stories. No patience for a better knowledge of fellowmen. No “ardeur patiente” to get to the core. No lenient “Sehnsucht” that gives soothing colours to encounters.

People inexorably yield to the invasion of the catwalk. Disposable goods and fake feelings are easily acquired, and without commitment.

So, definitely we have come into a “Twilight of desire”.

Selection at

Christie’s, New York

Rockefeller Plaza 20

January 2006


Erik Pevernagie

« Man without Qualities »

“Robert Musil has undoubtedly inspired Pevernagie’s « Man without Qualities ».


By denying any physical presence of the character and leaving simply dress evidence,

the artist gives us a reproduction of the ground zero of the mind.

Indeed, his anti-hero has decided to make tabula rasa and get rid of all acquired alleged qualities.

In his artistic work Pevernagie often claims space for reflection, time for new oxygen, recovery of spiritual regeneration and intervals for active awareness aimed at calling matters into question.”

Selection at 


Sotheby’s, New York

December 2005


Erik Pevernagie

“Absence of Desire”


“Standing in front of "Absence of Desire", painting by Pevernagie, I wonder: "Who feels the absence of desire? ". The absence is not explained by the decomposed, half-naked, headless female bodies. It is not confined to the painting.  On the contrary, the absence of desire gradually invades the beholder who is in front of the painting.


The artistic approach of Erik Pevernagie, the requirements of the composition, the structure of the canvas with its transversal lines and diagonals remind me of the stained glasses of cathedrals.


The large needles of these cathedrals tearing the blue of the sky in their search of god. The iridescent stained glasses pouring light under the high vaults which embody faith and a belonging to the world beyond. The beauty of stained glass removes all the thoughts of a physical world which surrounds man.


One can say that Erik Pevernagie’s "stained glass" rejects the body (rather pointed out by outlines than depicted) in the same way as the Middle Ages rejected the body while accentuating the face which was transformed into an icon. The metal framework of the "stained glass" is transformed into a kind of cage, of grid which imprisons the body.


But with Erik Pevernagie this rejection of the body leads us into a dead end: there are no faces, no heads: their absence precisely underlines the body which has to be denied.


In the course of the centuries the human body has been admired for its beauty and its plasticity. Man has appreciated the joy of the flesh. But the body has also been rejected and even perverted.


Erik Pevernagie’s painting represents the indifference, the insensitivity towards the human body and woman’s body in particular. It outlines man’s asexuality and inaction.


Pevernagie notes that his  (I quote) “contemporaries are convinced they know the world inside out. They tasted life in all its aspects and feel now that they are at the end of their tether. They are tired and are no longer able to invent themselves. At most, they are prepared to call upon some gadgets in order to create a pretence of desire. But this is only deception. Nothing can make them want anything or anybody anymore. That feeling of wanting has become absent. That specific feeling has definitely died.”


Absence of desire has become the metaphor of absence of life.


"Absence of Desire" is the stained glass window which opens into the gap of the cathedral of emptiness.( L.Krasnova)

Selection at 

 Horta, Brussels

Erik Pevernagie

June 2005


« You never get a handkerchief 

when you really need it»



 “The handkerchief the girl didn’t get, when she really needed it.

The artist has been keeping this image in the camera obscura of his.

                    memory and has translated it on the canvas 

Erik Pevernagie decomposes the scene. Face and handkerchief are

                        caught in a pattern of lines and surfaces.

 In a time where feelings are kept a secret and showing one’s feelings seems ludicrous and ridiculous the painter opposes two fundamental elements of daily life: tragedy and comedy.”