Messieurs Delmotte is no greenhorn in the artistic field. The video productions, photographs and installations of this artist have been shown in solo and group exhibitions throughout the world and of course Belgium, where he is further more known for his mixed media parties. The deadpanning, Buster Keaton-like mystery artist poses as a real dandy: he is irresistibly charming and elusive as ether. His dedication gives way to what he cannot suppress. His actions are so blatantly topical, so banally urgent they can’t be postponed. They have to take place, here and now. He translates his unbridled naughtiness, his liking for danger, his sneering at the institutionalised art world into singular actions that result in one narrative image. Coarse and crude, his videos make a mockery of just about everything. They stand aloof from smooth perfection and are realised with the simplest of audio-visual means and a unity of time, place and action.

The work of Messieurs Delmotte is situated somewhere between reality and imagination, somewhere between genius and dilettantism. Delmotte is distinguished by his dress code and facial appearance. He always presents himself in a two- or three-piece suit. His semi-long hair is another distinctive trait, overabundantly daubed with gel, combed flat against his head and cut straight across at the bottom. The finishing touch, an exceedingly precise stripe down the middle, completes the geometric coiffure. Delmotte puts forth a character who dashingly barrages his audience with gestural discoveries that are as unpredictable as they are absurd. In all this merriment and nonsense lies the existential and poetic revolt of the work. It is always about interfering in a situation, about engaging an hilarious and heroic battle with the trivial object, a character of a given circumstance.