L’été Indien

L'été Indien

07.09.23 - 14.10.23

Simon Demeuter
Guillaume Linard-Osorio
Thomas Trum
Pascal Vilcollet

The mysterious light of twilight / the ascending sun spreads out in paintings by Pascal Vilcollet (born 1979, lives and works in Paris), whose work, despite it's non-figurative nature, is typical for the carefully curated elements in his paintings whereas create a sense of hierarchy and proximity that resonates with viewers, drawing them into the vivid and textured world he creates on canvas. Vilcollet's typical element is the interplay of perspectives, memories, symbols and colours, resulting in a unique blend of expressionism and abstraction on large canvases. The studio holds an immense significance in his artistic process. Vilcollet maps out his workspace by applying a pictorial language to a blank surface. He circulates around the canvas and intervenes by creating different layers to create a perspective. In a second phase, this notion of perspective is broadened to call upon his memories and references.

The flip, where things take on a new form, its newly acquired physicality, can be felt in Guillaume Linard-Osorio’s work (b. 1978, lives and works in Paris and Toulouse) where construction materials linked to his background as an architect, often serve as the foundation of his work. Despite their eventual disappearance in the finality of construction, Linard-Osorio focuses on the transformation and visibility of these materials; from their silent vocabulary, he reassembles and questions meaning. The artist seeks points of rupture, the intrinsic critical threshold of materials, to reconsider cultural and social connections and disconnections; often questioning our relationship with the world and social interactions through material experiments.

The metamorphosis is completed in the work of Simon Demeuter (b. 1991, lives and works in Paris), whose painting practice is driven by a search for bold simplification of form, inducing his works with pictorial freshness and a sense of immediacy. Colour is the artist’s primordial tool to evoke an emotion, an impression, a sensation, a mood or a physical or mental state. Within his imagery, one can discern glimpses of an inner landscape and subtle references to diverse art forms like Folk Art, Impressionism, cinema, and music. Remarkably, a seemingly trivial object, chosen with arbitrary intent, can serve as the catalyst for an entirely new series of paintings, as is evidenced in the artworks showcased in the exhibition. From the humble beginnings of a Roman vase, a captivating series unfolds before the viewer's eyes. Through this relentless exploration, Demeuter seeks to uncover the elusive trace of emotion in its purest and most unadorned form. His art speaks of a profound endeavor to distill the essence of feeling, capturing it with a simple and stripped-down approach.

The cycle is symbolically closed by Thomas Trum’s oeuvre (b. 1989, lives and works in the Netherlands), whereby the method of his work revolves around material research of paint and techniques with the goal to reach an intersection of art and design; using the studio as a place for experiment, he looks into unconventional ways to paint on paper. Trum his artistic endeavors are characterized by a captivating array of colors and an intriguing play of minimalism. The artist employs various nontraditional tools to craft his masterpieces, such as a road-marking machine and a massive felt tool that spans several feet in length. These unorthodox choices contribute to the creation of his vibrant paintings, whether on canvas, paper, or walls, often resulting in breathtaking large-scale works. His process is marked by laborious experimentation, resulting in euphoric expressions of color, depth, and pattern.

Works

Like an Addiction

Like an Addiction

13.05 - 24.06.23

Lucie Lanzini

Lucie Lanzini’s Lanzini’s body of work shows a hidden reality behind the appearance of things. Her work opens a reflection on the domestic space and its architectural components, on what holds and what sticks. Her work consists of a set of architectural and ornamental elements whose realization and rea- lism intri- gues as much as their potential to become ruined.Through the molding technique, Lucie Lanzini evokes the relation to memories and tries to capture their absence to memorialize them. Passionate about the play of material, the artist combines different techniques of sculpture to create the discrepan- cies and oppositions that punctuate her work.

Works

Destrucformation

Destrucformation

13.05.23

Ileana Moro (°1992) Costa Rica

As a painter, I am drawn to exploring the depths of human emotion through the use of dark tones and layered surfaces. I am fascinated with the mysteries of outer space and the cosmic dance of astrology, and how they connect to our spiritual transformation. These invisible forces are often the inspiration for my work, which balances a sense of melancholy with the hopeful promise of romanticism.
My paintings are surreal, yet minimalist, each brushstroke revealing a soulful connection between the outer and inner worlds.
I work primarily in oil painting, an inherently emotional medium that allows me to express a wide range of feelings through light and shadow. The ovals forms are inherently spiritual in their meaning, playing a symbolic role in representing the birth of an unseen identity. It is a potent metaphor with many layers shed and new surfaces uncovered in the process, symbolizing the eternal cycle of creation and interconnectedness of all things.
Ultimately, with each piece, I hope to create a sense of connection between the viewer and the divine, reminding us all of our place in the infinite and unknowable universe.

Works

Tsubo Niwa

Tsubo Niwa

25.03 - 06.05.23

Romy Streep

Tsubo Niwa gives a clear insight into the definition of a garden and its potential.
On the one hand you’ve got niwa, meaning “garden”. On the other, tsubo. One meaning of tsubo is an area equal to two tatami mats or about 3.3 square meters. Most Tsubo gardens are small, some only a few square meters, but the implication of this definition is that the tsubo garden is very small. So one way to think about the tsubo garden is in terms of its size. A second meaning of tsubo brings a new dimension to the garden. In this case tsubo means a vessel, usually ceramic, such as a large water jug.
Now we see the tsubo garden not just as a tiny garden, but a three-dimensional space, a volume that is held between the walls of surrounding rooms. So in this case, the Tsubo garden is contained inside a building, like a jewel in a box. There is a third way to write Tsubo that brings the garden out of a purely physical definition and in the realm of the spiritual. There is a belief, in most countries influenced by Chinese culture, in Ki or “life energy”. A force that flows through the body. And along its lines of flow there are special points. In Japanese these points are called, tsubo. Here in I found the true definition of “my garden”. A place to take a moment, a breath.
Hidden between the noisy streets of Brusselles lays my garden. Made from wool and ceramic.

Works

Interstice

Interstice

25.03 - 06.05.23

Carla Arocha & Stéphane Schraenen

What is in-between?

Interstice is a reflection on what is within. A room in a room, inside the wall is a space; the space inside is the place for reflections, space for thoughts.
Transparent and elusive, this installation has the potential to render absence noticeable, to render emptiness tangible.

In the Japanese language Ma is an “aesthetic principle meaning “emptiness” or “absence.” It is the space between objects, the silence between sounds, or the stillness between movements. The term describes both time and space, and is much more than a “lack” of something. The emptiness is, in fact, a palpable entity¹”.


¹ Lanki, Colleen. “間: an aesthetic of space-time”, ricepaper magazine, 7 February 2013, https://ricepapermagazine.ca/2013/02/間-an-aesthetic-of-space-time/

Works

Kaspar DeJong

Kaspar Dejong

°1995 in Maastricht, NL, lives and works in Amsterdam

Kaspar Dejong earned his master's degree from the Sandberg Institute in 2021. After completing his BA (minor in Critical Studies) at the Willem De Kooning Academy in 2017, he exhibited his final project "Traffic Gaze" at the DSM Art Collection. His work was recently shown at Art Rotterdam, Ballroom Project Antwerp, Kunsthal Gent and was nominated for the Slijuters Prize 2021. He is currently completing a residency program in Berlin at Raum24. Kaspar Dejong's work is in the semiotic tradition of investigating and exploring signs and symbols as an important part of communication. "I tend to reuse existing images and objects from my everyday environment and deconstruct these objects and images in such a way that their signals lose their meaning and/or their authority and original function is questioned." (Dejong on his work) The themes Dejong addresses spring from a fascination with the obvious, the everyday, and with the small beauties of the world. They are processes in which the ravages of time penetrate a man-made structure or system.

Works

Harold Lechein

Harold Lechien

Mark Brand
06.01 – 05.02.22

Mark Brand is a hybrid body of work associating an artistic production with a promotion by Harold Lechien

exploiting the language of branding, then used as artistic material. The heart of the installa- tion is a video bringing together the artworks and a series of messages, logos and derived

objects used in a narrative process that makes the brand oscillate between artistic discourse and a commercial product. It reveals an emotional relationship to these products, to their equivocal status in our lives, and to their distribution.

Works