(b. 1991), lives and works in The Hague, Th
"Tommy Smits is a Dutch multimedia artist. He works with photography, film and sculpture dealing with archives and ways of framing, to elevate vernacular and everyday imagery into surreal photographic objects. His photography practice searches to innovate and materialize the immaterial photograph, and hides them far away hidden in places for future archeologists to find. Tommy Smits graduated from the Royal Academy of Arts in The Hague and internationally exhibited his work. Smits is the co-director of the 2020 documentary ‘Tommy & Danny in Search of the Future: different reasons for Digging a Hole’ that premiered at Noorderlicht Photofestival 2020."
Sigurrós G. Björnstóddir
(b. 1991), lives and works in Antwerp, Belgium
I notice elements in my surroundings, something that catches my eye, oddly placed objects, something strange, or a funny coincidence. Maybe it's a shape of an object or a surprising encounter that attracts my attention at first, but after some simmering, it becomes more than meets the eye. An awkward presence, a mouthwatering atmosphere, or a reminder of memories. How did the fresh flower bouquet end in the trash, why is the ladder in the middle of the swimming pool? Is this a giant match or a long block of wood with a burned end?
PARKING LOT POND AND NEW NAILS
She stops at a red light and notices yet another woman bundled up in a thick coat, hat, scarf and mittens, but bare-legged in the cold breeze. Across the street, a cowboy with a toothpick in the corner of his mouth, is pumping water from a yellow hose across the parking lot. There is a pile of toothpicks around him. How long has he been standing there? The parking lot is beginning to resemble a small pond. She decides to take a shortcut and walks across the park. She bumps into a stone, and it is like the stone is smiling at her. This startled her, but when she looks back, the smile had disappeared, and the stone was the most ordinary stone. She reaches the end of her journey, picks up a pack of new nails and looks forward to going home and adding them to her collection. Some point up and others down, some become worms and others snakes, but nothing is certain.
(b. 1995), lives and works in Brussels, Belgium
Nicolas Zanoni’s practice is shaped by playing and listening to the materials, focusing mainly on the production process that he sets up. He is using metal as textile in a weaving process, or burning and melting plastic until it looks like marble. His formal language borrows from brutalism and flirts with trashcore, resulting into tactile furnitures.
For this exhibition, Nicolas Zanoni explored the magical and mystical dimension of Charm. As often in his work, he metamorphoses the material. In the same way as a piece of jewelry, aluminum is woven to become a metallic fabric with a scaly texture. He appropriates this metallic surface by flattening it, by compressing it. Therefore he transmutes the aluminum into a material charged with poetry and softness, in its treatment as well as in its final shape. Like a reflection in water, the image that appears in this piece is cloudy and vaporous.
Manon Van Den Eeden
(b. 1996), lives and works in Brussels, Belgium
© Silvia Cappellari
My artistic practice departs from the versatile formality of everyday objects and our encounters with them. I am interested in the thin line between reality and fiction, the visible and invisible and the ambiguity between form and function. In my work I manipulate existing forms into sculptures and installations that hover between the strange and the familiar. In a making process that alternates between digital and manual labour, elements are parsed, magnified, distorted, merged or multiplied, resulting in a visual language dominated by careful compositions and glossy surfaces, evoking both personal associations and distance.
(b. 1989), lives and works in Antwerp, Belgium
©Juan David Cortés
Geran Knol’s work is an ever evolving research on shape and form. In Knol’s image a recurrent figure becomes part of its surroundings and doesn’t take on a personification. He often works in series where he limits himself to certain rules of play. With those limitations he researches possible variations which then lead to new ideas. For Knol a drawing carries a similar importance to a painting, and he often refers to previous work when working with a new medium. Even though his practice generally takes a two-dimensional format, the haptic qualities of the materials are very relevant in the making of a final image.
(b. 1989), lives and works in Antwerp, Belgium
Elena Minyeyevtseva’s practice consists of drawings, paintings and textile experiments.
At first sight, the work of Elena Minyeyevtseva offers a colorful dreamlike world - images inhabited by diverse creatures and fluid-like, moldable shapes. Her composite images are pieced together by the artist’s direct imagination, a place where elements share the same space but not necessarily relate to each other.
While taking a closer look, the precise meaning of the elements remain more difficult to decipher by sight alone than initially thought. The elements much like memories are defected. They are suggestions of something else, a mixture of real and aloof storytelling.
Elena Minyeyevtseva carefully sculpts her subjects, layer by layer, through time consuming repetitive movements. As a result, the qualities of her work arise in the surfaces that shimmer, shine and reflect, turning into almost toxic metallic particles. The use of sharp stripes brings a sense of mass and a sense of dimensionality to her work. Moreover, the repetitive movements give the artist the ability to escape time and dissolve into the work itself.
In the end, the process leads to a more intimate understanding of the artist's inner world.
‘I out my desire for misguiding myself through intuition and unconscious doodling, that showcases emotional unpredictability.’
(b. 1993), lives and works in Brussels, Belgium
Chloé Arrouy’s sculptural practice is based on an experimental approach to traditional metalworking techniques. The objects she makes often refer to medieval societies, and their abundant production of disturbing forms. Through the manipulation of signs from different Western cultural contexts, she questions the paradoxes of these symbols which, then, become fields of experimentation. Between sensuality and austerity, innocence and infamy, her practice pushes her to explore the empathic power of forms, in their capacity to provoke a physical sensation, often that of pain. The universe she conjures up resonates with those of witchcraft, torture, but also of bdsm and teenage years, all of which are propitious territories to evoke her relationship to existence, sexuality and culture.
Che Go Eun
(b. 1988), lives and works in Brussels & Antwerp, Belgium and Seoul, Korea
I create digital collages, drawings, 3D models, games design applications and VR animation. My inspiration comes from love, video games, manga, anime, internet, folklore and mythology. I am drawn to the subject of ‘forgotten women’. I research about historical female characters from west and asia (Seon-nyeo, Kumiho, and Fiere Margriet etc.), and collage them relate to everyday occurrences.
I am a ‘traditional digital artist’. There are two meanings behind my self coined term. Firstly, I was trained in Korean traditional painting and secondly, I grew up within a digital and internet culture. From a young age (I was 7 years old when I first started drawing with Microsoft Paint) I was interested in combining the traditional skills of drawing within a digital context. Having experienced the first home internet-with a phone line, I have a unique relationship to the pre and post digital age that is also characteristic to my artistic practice.
(b. 1994), lives and works in Brussels, Belgium
Carole’s work carries a vision of the body as a fluid container in constant mutation. A personal experience of illness when she was a teenager modified her own body perception, at an important time of identity construction. By presenting a subjective approach of the inner body exploration, she proposes visions of reality distorted by her own history, but also her fleshy fantasies.
Inspired by what David Cronenberg calls « the creative cancer » (to adopt the disease’s point of view filming the body), she aims to represent the world through an organic prism, and attempts to express a vision of what surrounds her as a wounded and sick body. These kinds of new forms of dissections are part of what she calls the body gaze.
She depicts an environnement wavering between a gore aesthetic and something more soft and fantastic. It’s always about trying to find a balance between attraction and revulsion, erotism and disgust, to express a certain form of body emancipation with fluids freed from epidermal barrier.
These kinds of sensory issues also brings technical questions : how to paint the inherent movement of fluids ? How to represent viscous liquids and living matter ?