There's a weight to his work (which deals with war, transience, history, guilt, and atonement), but also transparency and lightness, or rather, air. And there are beautiful watercolours of flowers—with a preference for poppies and cornflowers—floating in the vast void.
Timeless work, solidified matter.
Sometimes the horizon is low, then we gaze endlessly out over a meandering distance. Sometimes the horizon is high, then it seems as if we are looking down at the ground—and in the "guilty" landscapes (as Armando puts it), we sometimes see shrapnel or other war debris, found near Cormicy, north of Reims, where Guillaume Vogels's great-grandfather lost a leg during the Chemin des Dames Offensive during WWI.
After Vogels came face to face with the overwhelmingly large works of his great inspiration, Anselm Kiefer, the material painter of the past and present century, he knew what he had to do: battle the elements, his own family history, and himself, and capture transience in imperishable paintings, drawings, and sculptures.
