The absence of a personal style today does not refer to a lack thereof, but even more a submission to the object, an objective immanent style, an individuality of all things. Only from a distance, in a bird’s eye view, after a longer period of watching and listening, a dual artistic arrangement will then reveal itself again: on the one hand connecting all pieces of work by a way of looking at and listening to the creative individuality demanded by the object, on the other hand the creative style resulting from this. The artistic view concealed behind this, is a multi-polar one. Nothing, as expressed by Jan Decker’s pieces, nothing exists in a single objective way; everything exists from itself and in the ears and eyes of those listening and watching, concerning not only the original object but also the work of art. Now suddenly a distinct handwriting becomes visible, a design for the art of the 21st century.

In other words, Jan Decker’s paintings are, just by his way of creating them, like music turning visible – and making his music sound painted: sometimes in soft and gentle harmonic strokes, sometimes wild and raging, sometimes composed, sometimes humble, sometimes unruly and dominant, next full of doubt, but always typical: always Jan.

Alexander Hans Gusovius, Writer and Philosopher

Jan Deckers

I have known Jan Deckers for a number of years now, and the thing about him that fascinates me every time is his tremendous perceptional ability, incredibly wide expatiated depth in assimilation and his fast, confident artistic design and carrying out, in his music as well as in his expressive work. This accompanied with reliability without air which a rarity in the artistic crowd.

Someone who, like Jan, is dual-talented is rare, but it does exist. For example: Goethe in his superior way and Tomi Ungerer being a phenomenon in the 20th century. Expressive and literary combinations are actually much more common than expressive and musical, seeing that an expressively creative drive is more likely to be accompanied by a literary counterpart than by a musical one. Exactly this happening to Jan Deckers is a reference to the inner core of his art, in which a certain perception of art is reflected.

When looking at his paintings and drawings and while listening to his music one will notice that he gives each piece a character of its own, which can almost never be retrieved in earlier or later pieces. Someone may recognize the absence of a personal style in this, even more so because the artists of the past 150 years went through a tremendous amount of trouble to create a unique style, sometimes resulting in excessive paintings, sculptures and musical works of art, surely contributing to the blurring of the line between artistic and commercial efforts.

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