Kenne Gregoire’s Disturbingly Realistic Surrealism

Feature image: Kenne Gregoire, 1951 via Tutt'Art

Realism, a movement that emerged in the mid-19th century, is a genre of art that is the antithesis of Romanticism. It accurately portrays the model or scenery interpreted by the artist. Subsequently, surrealism emerged in the early 20th century due to the instability felt by everyone worldwide. This movement is a direct result of how the general populace felt in the early 1900s; surrealist artists used this technique to cope with the surreal feeling of global events like the World Wars, the Spanish Flu, and America’s Great Depression. 

As with all art techniques and genres, new interpretations and alterations shift the status quo. From iconic artists like Salvador Dalí, the Father of Surrealism, to artists of today who apply personal touches to the genre, New Surrealism, a branch of traditional surrealism, embodies the traditional elements of surrealism but incorporates modern topics, people, and ideas. 

Dutch artist Kenne Gregoire embodies the New Surrealism movement; his work is realistic enough to understand the object of the painting but off-putting enough to make the viewer feel unsettled. Gregoire plays with proportions to grotesquely alter the subjects of his paintings. From yellowed teeth to bulging eyes to exaggerated fine lines, Gregoire combines New Surrealism with a hyperbolic, satirical approach that exquisitely distinguishes him from other surreal artists. 

An interestingly titled painting alone, this portrait of four men is up close and personal. Their features and facial expressions are so realistic but clearly a painting. 

The intriguing title transports the viewer to an experience in an overly crowded club where drunk, smelly men have no boundaries and speak–or rather scream–in your face. It is an incredibly niche reference, but Gregoire’s immense attention to detail easily carries the viewers exactly where he wants them to go. 

An obvious indicator of a surreal painting is the immediate provoke thought: “What am I looking at here?” Kenne Gregoire’s “Don Juan” does just that. 

The painting’s meticulously detailed subject categorizes itself as realism. However, the additional details of the man’s outfit, aura, and environment ultimately dictate this painting as surreal. One of the most peculiar aspects of surreal art, especially in Gregoire’s work, is the absolute abstract choices in the most mundane details; something as simple as this man’s hat and shirt provoke the viewer to feel unsettled. “Don Juan” is not an out-of-the-ordinary scenario or visual. Still, the background undoubtedly transforms this portrait from a uniquely dressed person to a uniquely dressed person standing in a desolate landscape. The wooden backdrop mimics barren land; the mushroom-shaped objects at the top resemble trees or obscure buildings. 

Gregoire is not an artist who holds himself within the boundaries of one genre. Although his work is overarchingly New Surrealism, his catalog as a whole ranges in styles and techniques. He incorporates the mysterious ambiance of surrealism with a fantastical reality. 

“Kites I” captures a spectacular mundane moment of a family flying kites at the beach. Gregoire’s use of color creates a filtered look that brings viewers back to his surreal roots. But the whimsical moment of flying a kite is beautifully portrayed in small gestures of pointing to the sky. It is a moment where humans find joy in the simplest pleasures.

“Paper Bag” is a still life with an open sky as the background—a common motif in surrealism. From the crinkles on the bag to the linework on the watering can, this piece undoubtedly speaks to Gregoire’s capabilities to create truly realistic artwork. 

Surrealism is one of the more quirky genres in art. It can also be the most frustrating type of art to analyze, as humans have an incessant need to make sense of a situation or feeling. Seldom does surreal art have a definitive meaning. Oftentimes, artwork such as Gregoire’s is simply an odd portrait with no ulterior motive. Surrealism can provoke an uncomfortable feeling strategically created by the painter, forcing the viewer to sit with an unanswered question: “What is going on here?”

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