莉莉・德邦特 (烏爾文豪特, 1958) 的畫作既是對原型繪畫的破壞又是重建的替代品。 德邦特通過將畫布切成碎片，將其從畫框上取下，作為一種反向編織的行為，正面攻擊了這幅畫。 雖然她最初用石膏或環氧樹脂加固損壞的帆布，但近年來帆布一直保持柔軟。 她手持手術刀，像一位經驗豐富的病理學家一樣仔細地解剖畫布。 散開的線鬆散地垂下並改變了整體外觀，包括當作品傾斜或以不同方式懸垂時的尺寸。 木製畫框（如果有的話）像骨架一樣暴露在外。 在其他作品中，線條變得獨立，並通過她所謂的截肢術進一步解剖。 最後，畫布也可以沒有框架。 在這裡，她的作品觸及了法國 Supports/Surfaces 藝術家的原則。 正是畫布的「準備」、還原，進一步深化了「美與毀滅」的主題，暴露出前所未有的可能性。

The paintings of Lily de Bont (Ulvenhout, 1958) are both a destruction and a reconstructed alternative to the archetypical painting. De Bont attacks the painting head-on by cutting the canvas to pieces, removing it from the stretcher as an act of reversed weaving. Whereas she initially stiffened the damaged canvas with plaster or epoxy, in recent years the canvas has remained supple. Armed with a scalpel, she carefully dissects the canvas like an accomplished pathologist. The unraveled threads hang down loosely and change the overall appearance, including the dimensions when the work is tilted or draped differently. The wooden stretcher, if present, is exposed like a skeleton. In other work, the slats become independent and are further dissected by means of what she calls amputations. Finally, the canvas can also do without a frame. Here her work touches on the principles of the French Supports/Surfaces artists. It is the "preparation" of the canvas, the reduction, that further deepens the theme of "Beauty and destruction" and exposes unprecedented possibilities.

評論：荷蘭收藏家 Ger van Dam 與紐約藝評家 Jonathan Stevenson 

以優等生畢業於聖約斯特藝術學院（登博斯，荷蘭）（1989）

Education: