
The Philippine Sail Fin Lizard, 2022. Charcoal, chalk and gesso on canvas. 71 x 61 cm
The Philippine Sail Fin Lizard, 2022. Charcoal, chalk and gesso on canvas. 71 x 61 cm
The Daintree, 2021. Charcoal, chalk and gesso on canvas. 120 x 150 cm.
Sinharaja trail, 2022. Charcoal, chalk and gesso on canvas. H 72 x W 62 cm x D 4.5 cm.
The Chilean Flamingo 2022. Charcoal, chalk and gesso on canvas. 71 x 61 cm.
Deniyaya look out, 2022. Charcoal, chalk and gesso on canvas. 61 x 71 cm.
With these artworks I begin creating an initial image of an animal and try to capture a true to life realism of the particular species rendered in charcoal. When I am happy with the initial drawing I then begin layering fine line drawings in chalk over the top that show how the animal is understood by humanity and also how humanity effects the animal. The layering of imagery across the surface functions like a screen that we are seeing the animal through, revealing how it is loved, feared, worshiped and also demonized by mankind. This imagery shows the ecological challenges that these species face and that require our attention in order to avoid their extinction.
With these artworks I begin creating an initial image of an animal and try to capture a true to life realism of the particular species rendered in charcoal. When I am happy with the initial drawing I then begin layering fine line drawings in chalk over the top that show how the animal is understood by humanity and also how humanity effects the animal. The layering of imagery across the surface functions like a screen that we are seeing the animal through, revealing how it is loved, feared, worshiped and also demonized by mankind. This imagery shows the ecological challenges that these species face and that require our attention in order to avoid their extinction.
With these artworks I begin creating an initial image of an animal and try to capture a true to life realism of the particular species rendered in charcoal. When I am happy with the initial drawing I then begin layering fine line drawings in chalk over the top that show how the animal is understood by humanity and also how humanity effects the animal. The layering of imagery across the surface functions like a screen that we are seeing the animal through, revealing how it is loved, feared, worshiped and also demonized by mankind. This imagery shows the ecological challenges that these species face and that require our attention in order to avoid their extinction.
With these artworks I begin creating an initial image of an animal and try to capture a true to life realism of the particular species rendered in charcoal. When I am happy with the initial drawing I then begin layering fine line drawings in chalk over the top that show how the animal is understood by humanity and also how humanity effects the animal. The layering of imagery across the surface functions like a screen that we are seeing the animal through, revealing how it is loved, feared, worshiped and also demonized by mankind. This imagery shows the ecological challenges that these species face and that require our attention in order to avoid their extinction.
With these artworks I begin creating an initial image of an animal and try to capture a true to life realism of the particular species rendered in charcoal. When I am happy with the initial drawing I then begin layering fine line drawings in chalk over the top that show how the animal is understood by humanity and also how humanity effects the animal. The layering of imagery across the surface functions like a screen that we are seeing the animal through, revealing how it is loved, feared, worshiped and also demonized by mankind. This imagery shows the ecological challenges that these species face and that require our attention in order to avoid their extinction.
With these artworks I begin creating an initial image of an animal and try to capture a true to life realism of the particular species rendered in charcoal. When I am happy with the initial drawing I then begin layering fine line drawings in chalk over the top that show how the animal is understood by humanity and also how humanity effects the animal. The layering of imagery across the surface functions like a screen that we are seeing the animal through, revealing how it is loved, feared, worshiped and also demonized by mankind. This imagery shows the ecological challenges that these species face and that require our attention in order to avoid their extinction.
With these artworks I begin creating an initial image of an animal and try to capture a true to life realism of the particular species rendered in charcoal. When I am happy with the initial drawing I then begin layering fine line drawings in chalk over the top that show how the animal is understood by humanity and also how humanity effects the animal. The layering of imagery across the surface functions like a screen that we are seeing the animal through, revealing how it is loved, feared, worshiped and also demonized by mankind. This imagery shows the ecological challenges that these species face and that require our attention in order to avoid their extinction.
With these artworks I begin creating an initial image of an animal and try to capture a true to life realism of the particular species rendered in charcoal. When I am happy with the initial drawing I then begin layering fine line drawings in chalk over the top that show how the animal is understood by humanity and also how humanity effects the animal. The layering of imagery across the surface functions like a screen that we are seeing the animal through, revealing how it is loved, feared, worshiped and also demonized by mankind. This imagery shows the ecological challenges that these species face and that require our attention in order to avoid their extinction.
With these artworks I begin creating an initial image of an animal and try to capture a true to life realism of the particular species rendered in charcoal. When I am happy with the initial drawing I then begin layering fine line drawings in chalk over the top that show how the animal is understood by humanity and also how humanity effects the animal. The layering of imagery across the surface functions like a screen that we are seeing the animal through, revealing how it is loved, feared, worshiped and also demonized by mankind. This imagery shows the ecological challenges that these species face and that require our attention in order to avoid their extinction.
With these artworks I begin creating an initial image of an animal and try to capture a true to life realism of the particular species rendered in charcoal. When I am happy with the initial drawing I then begin layering fine line drawings in chalk over the top that show how the animal is understood by humanity and also how humanity effects the animal. The layering of imagery across the surface functions like a screen that we are seeing the animal through, revealing how it is loved, feared, worshiped and also demonized by mankind. This imagery shows the ecological challenges that these species face and that require our attention in order to avoid their extinction.
With these artworks I begin creating an initial image of an animal and try to capture a true to life realism of the particular species rendered in charcoal. When I am happy with the initial drawing I then begin layering fine line drawings in chalk over the top that show how the animal is understood by humanity and also how humanity effects the animal. The layering of imagery across the surface functions like a screen that we are seeing the animal through, revealing how it is loved, feared, worshiped and also demonized by mankind. This imagery shows the ecological challenges that these species face and that require our attention in order to avoid their extinction.
ANTHRO ZOOLOGY. New drawings by Tom Van Herrewege
Exhibited at Leicester Contemporary. LE1 6DP.
August 18th – September 11th 2021.
Anthrozoology
noun
Tom Van Herrewege’s work is inspired by a curiosity and awe of the evolutionary diversity of the animal kingdom, and how mankind has interpreted this around the world throughout history and today.
He is interested in how animals have evolved into what they are and the incredible variety across this spectrum. Yet it is also how animals exist in the human imagination, and the consequential impact that this has on the natural world.
It is how we understand them, categorize them, create ideas around them, worship and demonize them, utilize them, and the many other ways that humanity makes sense out of animals that is at the centre of his ideas.
In these new charcoal drawings, he has created realist depictions of various species in wild landscapes that are decisively rendered to describe the physicality and the behaviour of these creatures. The use of charcoal and chalk to create atmosphere is gestural, with hand stencils and playful mark making that allude to prehistoric cave art and the first depictions of animals.
Overlaid across the initial images, he has added delicate chalk line drawings across the surface of each piece, which describe how we are familiar with these animals. These softer line drawings are provoking for the viewer to consider the ever-increasing extinction crisis and the effects of humanity, yet they also celebrate the powerful charisma of certain species and how this has been embraced in folklore, cartoons, art, and cinema.
The artists intentions are to make the viewer pause and reflect on why we look at animals in the way we do, and to celebrate the strange and fascinating ways that one animal (us), perceives another. But it is to also make us consider the impact of this, and humanity’s place within the natural world.
With these artworks I begin creating an initial image of an animal and try to capture a true to life realism of the particular species rendered in charcoal. When I am happy with the initial drawing I then begin layering fine line drawings in chalk over the top that show how the animal is understood by humanity and also how humanity effects the animal. The layering of imagery across the surface functions like a screen that we are seeing the animal through, revealing how it is loved, feared, worshiped and also demonized by mankind. This imagery shows the ecological challenges that these species face and that require our attention in order to avoid their extinction.
With these artworks I begin creating an initial image of an animal and try to capture a true to life realism of the particular species rendered in charcoal. When I am happy with the initial drawing I then begin layering fine line drawings in chalk over the top that show how the animal is understood by humanity and also how humanity effects the animal. The layering of imagery across the surface functions like a screen that we are seeing the animal through, revealing how it is loved, feared, worshiped and also demonized by mankind. This imagery shows the ecological challenges that these species face and that require our attention in order to avoid their extinction.
With these artworks I begin creating an initial image of an animal and try to capture a true to life realism of the particular species rendered in charcoal. When I am happy with the initial drawing I then begin layering fine line drawings in chalk over the top that show how the animal is understood by humanity and also how humanity effects the animal. The layering of imagery across the surface functions like a screen that we are seeing the animal through, revealing how it is loved, feared, worshiped and also demonized by mankind. This imagery shows the ecological challenges that these species face and that require our attention in order to avoid their extinction.
With these artworks I begin creating an initial image of an animal and try to capture a true to life realism of the particular species rendered in charcoal. When I am happy with the initial drawing I then begin layering fine line drawings in chalk over the top that show how the animal is understood by humanity and also how humanity effects the animal. The layering of imagery across the surface functions like a screen that we are seeing the animal through, revealing how it is loved, feared, worshiped and also demonized by mankind. This imagery shows the ecological challenges that these species face and that require our attention in order to avoid their extinction.
With these artworks I begin creating an initial image of an animal and try to capture a true to life realism of the particular species rendered in charcoal. When I am happy with the initial drawing I then begin layering fine line drawings in chalk over the top that show how the animal is understood by humanity and also how humanity effects the animal. The layering of imagery across the surface functions like a screen that we are seeing the animal through, revealing how it is loved, feared, worshiped and also demonized by mankind. This imagery shows the ecological challenges that these species face and that require our attention in order to avoid their extinction.
With these artworks I begin creating an initial image of an animal and try to capture a true to life realism of the particular species rendered in charcoal. When I am happy with the initial drawing I then begin layering fine line drawings in chalk over the top that show how the animal is understood by humanity and also how humanity effects the animal. The layering of imagery across the surface functions like a screen that we are seeing the animal through, revealing how it is loved, feared, worshiped and also demonized by mankind. This imagery shows the ecological challenges that these species face and that require our attention in order to avoid their extinction.
With these artworks I begin creating an initial image of an animal and try to capture a true to life realism of the particular species rendered in charcoal. When I am happy with the initial drawing I then begin layering fine line drawings in chalk over the top that show how the animal is understood by humanity and also how humanity effects the animal. The layering of imagery across the surface functions like a screen that we are seeing the animal through, revealing how it is loved, feared, worshiped and also demonized by mankind. This imagery shows the ecological challenges that these species face and that require our attention in order to avoid their extinction.
With these artworks I begin creating an initial image of an animal and try to capture a true to life realism of the particular species rendered in charcoal. When I am happy with the initial drawing I then begin layering fine line drawings in chalk over the top that show how the animal is understood by humanity and also how humanity effects the animal. The layering of imagery across the surface functions like a screen that we are seeing the animal through, revealing how it is loved, feared, worshiped and also demonized by mankind. This imagery shows the ecological challenges that these species face and that require our attention in order to avoid their extinction.
With these artworks I begin creating an initial image of an animal and try to capture a true to life realism of the particular species rendered in charcoal. When I am happy with the initial drawing I then begin layering fine line drawings in chalk over the top that show how the animal is understood by humanity and also how humanity effects the animal. The layering of imagery across the surface functions like a screen that we are seeing the animal through, revealing how it is loved, feared, worshiped and also demonized by mankind. This imagery shows the ecological challenges that these species face and that require our attention in order to avoid their extinction.
The Breach series is based on photographs of Great White Sharks breaching whilst hunting and displaying their incredible physicality. They are a terrifying site yet also bare a sense of vulnerability out of the water and suspended in time like this. I have repeated the Jaws movie poster image across all pieces and there are other drawn elements around the sharks that relate to scare mongering ideas from the many other ‘shark movies’ made in recent years and the reality of what is pushing these incredible predators towards extinction.
With these artworks I begin creating an initial image of an animal and try to capture a true to life realism of the particular species rendered in charcoal. When I am happy with the initial drawing I then begin layering fine line drawings in chalk over the top that show how the animal is understood by humanity and also how humanity effects the animal. The layering of imagery across the surface functions like a screen that we are seeing the animal through, revealing how it is loved, feared, worshiped and also demonized by mankind. This imagery shows the ecological challenges that these species face and that require our attention in order to avoid their extinction.
The Breach series is based on photographs of Great White Sharks breaching whilst hunting and displaying their incredible physicality. They are a terrifying site yet also bare a sense of vulnerability out of the water and suspended in time like this. I have repeated the Jaws movie poster image across all pieces and there are other drawn elements around the sharks that relate to scare mongering ideas from the many other ‘shark movies’ made in recent years and the reality of what is pushing these incredible predators towards extinction.
With these artworks I begin creating an initial image of an animal and try to capture a true to life realism of the particular species rendered in charcoal. When I am happy with the initial drawing I then begin layering fine line drawings in chalk over the top that show how the animal is understood by humanity and also how humanity effects the animal. The layering of imagery across the surface functions like a screen that we are seeing the animal through, revealing how it is loved, feared, worshiped and also demonized by mankind. This imagery shows the ecological challenges that these species face and that require our attention in order to avoid their extinction.
The Breach series is based on photographs of Great White Sharks breaching whilst hunting and displaying their incredible physicality. They are a terrifying site yet also bare a sense of vulnerability out of the water and suspended in time like this. I have repeated the Jaws movie poster image across all pieces and there are other drawn elements around the sharks that relate to scare mongering ideas from the many other ‘shark movies’ made in recent years and the reality of what is pushing these incredible predators towards extinction.
With these artworks I begin creating an initial image of an animal and try to capture a true to life realism of the particular species rendered in charcoal. When I am happy with the initial drawing I then begin layering fine line drawings in chalk over the top that show how the animal is understood by humanity and also how humanity effects the animal. The layering of imagery across the surface functions like a screen that we are seeing the animal through, revealing how it is loved, feared, worshiped and also demonized by mankind. This imagery shows the ecological challenges that these species face and that require our attention in order to avoid their extinction.
The Breach series is based on photographs of Great White Sharks breaching whilst hunting and displaying their incredible physicality. They are a terrifying site yet also bare a sense of vulnerability out of the water and suspended in time like this. I have repeated the Jaws movie poster image across all pieces and there are other drawn elements around the sharks that relate to scare mongering ideas from the many other ‘shark movies’ made in recent years and the reality of what is pushing these incredible predators towards extinction.
I make figurative, realist drawings of animals. I spend hours working on a detailed drawing of an individual animal, and when I feel it is finished, I then erase away part or all the drawing to show how close the animal is to extinction. So, the closer the individual animal depicted on the card is to extinction, the more of its image is erased away.
The actual erasing process is done through a variety of media and techniques on varying materials, including sanded away wooden panels, rubbed out images on canvas and washed away ink drawings. I aim to make the partially remaining drawings to be both beautiful yet alarming to the viewer.
I make figurative, realist drawings of animals. I spend hours working on a detailed drawing of an individual animal, and when I feel it is finished, I then erase away part or all the drawing to show how close the animal is to extinction. So, the closer the individual animal depicted on the card is to extinction, the more of its image is erased away.
The actual erasing process is done through a variety of media and techniques on varying materials, including sanded away wooden panels, rubbed out images on canvas and washed away ink drawings. I aim to make the partially remaining drawings to be both beautiful yet alarming to the viewer.
I make figurative, realist drawings of animals. I spend hours working on a detailed drawing of an individual animal, and when I feel it is finished, I then erase away part or all the drawing to show how close the animal is to extinction. So, the closer the individual animal depicted on the card is to extinction, the more of its image is erased away.
The actual erasing process is done through a variety of media and techniques on varying materials, including sanded away wooden panels, rubbed out images on canvas and washed away ink drawings. I aim to make the partially remaining drawings to be both beautiful yet alarming to the viewer.
I make figurative, realist drawings of animals. I spend hours working on a detailed drawing of an individual animal, and when I feel it is finished, I then erase away part or all the drawing to show how close the animal is to extinction. So, the closer the individual animal depicted on the card is to extinction, the more of its image is erased away.
The actual erasing process is done through a variety of media and techniques on varying materials, including sanded away wooden panels, rubbed out images on canvas and washed away ink drawings. I aim to make the partially remaining drawings to be both beautiful yet alarming to the viewer.
I make figurative, realist drawings of animals. I spend hours working on a detailed drawing of an individual animal, and when I feel it is finished, I then erase away part or all the drawing to show how close the animal is to extinction. So, the closer the individual animal depicted on the card is to extinction, the more of its image is erased away.
The actual erasing process is done through a variety of media and techniques on varying materials, including sanded away wooden panels, rubbed out images on canvas and washed away ink drawings. I aim to make the partially remaining drawings to be both beautiful yet alarming to the viewer.
I make figurative, realist drawings of animals. I spend hours working on a detailed drawing of an individual animal, and when I feel it is finished, I then erase away part or all the drawing to show how close the animal is to extinction. So, the closer the individual animal depicted on the card is to extinction, the more of its image is erased away.
The actual erasing process is done through a variety of media and techniques on varying materials, including sanded away wooden panels, rubbed out images on canvas and washed away ink drawings. I aim to make the partially remaining drawings to be both beautiful yet alarming to the viewer.
I make figurative, realist drawings of animals. I spend hours working on a detailed drawing of an individual animal, and when I feel it is finished, I then erase away part or all the drawing to show how close the animal is to extinction. So, the closer the individual animal depicted on the card is to extinction, the more of its image is erased away.
The actual erasing process is done through a variety of media and techniques on varying materials, including sanded away wooden panels, rubbed out images on canvas and washed away ink drawings. I aim to make the partially remaining drawings to be both beautiful yet alarming to the viewer.
I make figurative, realist drawings of animals. I spend hours working on a detailed drawing of an individual animal, and when I feel it is finished, I then erase away part or all the drawing to show how close the animal is to extinction. So, the closer the individual animal depicted on the card is to extinction, the more of its image is erased away.
The actual erasing process is done through a variety of media and techniques on varying materials, including sanded away wooden panels, rubbed out images on canvas and washed away ink drawings. I aim to make the partially remaining drawings to be both beautiful yet alarming to the viewer.
I make figurative, realist drawings of animals. I spend hours working on a detailed drawing of an individual animal, and when I feel it is finished, I then erase away part or all the drawing to show how close the animal is to extinction. So, the closer the individual animal depicted on the card is to extinction, the more of its image is erased away.
The actual erasing process is done through a variety of media and techniques on varying materials, including sanded away wooden panels, rubbed out images on canvas and washed away ink drawings. I aim to make the partially remaining drawings to be both beautiful yet alarming to the viewer.
I make figurative, realist drawings of animals. I spend hours working on a detailed drawing of an individual animal, and when I feel it is finished, I then erase away part or all the drawing to show how close the animal is to extinction. So, the closer the individual animal depicted on the card is to extinction, the more of its image is erased away.
The actual erasing process is done through a variety of media and techniques on varying materials, including sanded away wooden panels, rubbed out images on canvas and washed away ink drawings. I aim to make the partially remaining drawings to be both beautiful yet alarming to the viewer.
5 Venezuelan bolivares, 1000 Rwandan francs and 2 Brazilian reais, 2019. 60 X 72 cm.
Giclee print on cotton rag paper. Limited edition of 25. £250.
20 South African rand, 5 Fijian dollars, 50 Congoleses francs, 2019 .72 x 61 cm.
Giclee print on cotton rag paper. Limited edition of 25. £250.
‘A crash of Rhinoceroses’, 2019. 80 x 55 cm.
Giclee print on cotton rag paper. Limited edition of 25. £250.
500, 100 and 500 Indonesian rupiah, 2019. 78 x 56 cm.
Giclee print on cotton rag paper. Limited edition of 25. £250.
Hit List (Abdula and Co cigarettes, 12 Feathered friends, 1935), 2017. 31 x 28 cm.
Giclee print on cotton rag paper. Limited edition of 50. £125.
Hit List (Adkin’s cigarettes, 36 wild animals, 1923), 2017. 48 x 40 cm.
Giclee print on cotton rag paper. Limited edition of 50. £150.
Hit List (Player’s cigarettes, 15 animals, 1924), 2017. 32 x 30 cm.
Giclee print on cotton rag paper. Limited edition of 50. £125.
Hit List (Turf cigarettes, 36 Zoo animals, 1954), 2017. 47 x 40 cm.
Giclee print on cotton rag paper. Limited edition of 50. £150.
Hit List: Reptiles, 2017. 70 x 54 cm.
Giclee print on cotton rag paper. Limited edition of 25. £250.
Hit List: African fauna, 2018. 44 x 52 cm.
Giclee print on cotton rag paper. Limited edition of 50. £150.
Hit List: Oriental fauna, 2018. 44 x 52 cm.
Giclee print on cotton rag paper. Limited edition of 50. £150.