In the skate park of his teenage years, during the skating competitions he practiced at a high level, Gregory Defreyne asked to pass Edith Piaf's crowd and it was already, nestled in the hollow of him, his two loves that arose: the old-fashioned generosity of the color movements on the canvas.
Gregory, 33, grew up in Liège. He studied visual arts in Saint Luc then landed at 17 in the Belgian capital that he did not leave.
From personal photographs, Grégory Defreyne paints. In oil painting, he creates large portraits of which a strange feeling of proximity emerges, a disturbing sensation of familiarity. As a personal link that would be established there, suddenly, in front of the canvas and that would bind us closely to the people represented. This proximity, this link that is both strong and fantasized, is undoubtedly due to the fact that the subjects of the portraits are all people close to the artist, important to him. From the deep bond, he shares with them emerges the will to paint what they are, in the absolute sense of the term. To transcribe in color each trait of character, each dimension of their personality. The formats are ambitious, up to two meters. The line is precise and the gestures mastered, the artist is in search of a realistic perfection. Oil painting is in this medium of choice, the precision it allows and the temporality it induces allow it to stick closer to the representation. This mastery, this attention paid to the detail of a hand or to the texture of a face, however, contrasts with areas left voluntarily sketched. What is expressed through them is that each one carries in him a part of unfathomable, of secrecy: an area of indiscernibility: in spite of the intimate knowledge of those who are close to us, there will always remain in them a "je ne sais quoi" that resists apprehension. It is this mystery, inherent to all personality, which manifests itself forcefully through the unfinished portraits.