Encapsulated perspectives 19/10
Mixed media – foam and plexiglass boxes – 96 x 75 x 15 cm – 2019
In the series encapsulated perspective 19/10 I wanted to give the opportunity, to whom would like, to bring with-himself a sample of perspective. Therefore I created light architectural models using geometry and black & white elements, playing with rhythm and light & shadow, constructing systems of perspectives. Each sample has its own system but also its own coloured moment of impossibilities.
I also wanted to create a unity between all the artworks of the series. Just like the word sample implies a small part of anything intended to show the nature of the whole, the artworks create together new perspectives that could not be revealed when separated and as a whole the coloured moments of impossibilities dissolve.
Mural – paint and adhesive – 260 x 1600cm @ Room 1502 – Artels Hotel, Shanghai, China – 2019
I used an anamorphosis projection to create a lining on the existing physical boundary that is the wall. Through these lining lines the viewer is then able to look beyond it and experience a new space greater in size and in challenge. I like to create in all my artworks moments of impossibilities and “Lining lines” is no exception to it. With these moments I want the viewer to challenge himself questioning the space created by the artwork and maybe even have a glimpse to what Newton called the absolute space.
View of a box
Mixed media – plexiglass, foam and metal sheet – 19 x 19 x 7.5 cm – 2019
The immaterial form of a book
Digital art – A format – 2018
Imaginary space n°3
Mixed media – tiles and wood frame – 73 x 115 x 4 cm – 2019
I constantly save spaces. A new typology, a new memory, a new impression, a new perspective of the space I find myself in. With time those spaces evolve, change, fragment themselves in my head. Unconsciously, my brain processes all the information it gets, organises, discards the less important information and tidies up my memories. For my series of imaginary spaces, I use the most altered and fragmented of those spaces, the ones that only have an essence left. In order to reflect the fuzziness they have in my head I have used square tiles. Just like a photograph that would have lost much of its resolution and whose pixels would have changed the contouring lines of the subject. Visually, the spaces depicted in the series are nothing like the spaces once experienced but still they have something inapprehensible that my brain doesn’t want to let go. I was especially inspired for this series by the work of Georges Perec and his fascination for all types of spaces and their effect on our memories and emotions. « L’espace fond comme le sable coule entre les doigts. Le temps l’emporte et ne m’en laisse que des lambeaux informes » Espèces d’espaces, Georges Perec
View of a room
Mixed media – plexiglass, foam and metal sheet – 40 x 40 x 12 cm – 2019
Dimensional vs virtual world
Installation – video-projector projecting a looping movie, wood and foam – projection surface 102 x 102 x 7cm – 2019
Once upon a time there were two parallel worlds that coexisted in the mind of each inhabitant of these worlds. The first world had the particularity that it was three dimensional and tangible while the second was only visible through technology and was immaterial. Both worlds became intimately dependent on each other and their close relationship allowed the inhabitants to live in both and cross from one to the other as they wished. They were perfectly happy. But one day they decided they wanted to see how it functioned and started comparing both worlds. They soon discovered that people behaved differently in each world. Some people were happy in one and lonely or unsatisfied in the other. Others would radically change appearances, or be married in one world and single in the other. The discovery was so difficult to bare that they began to wonder whether comparing the two worlds was beneficial after all. A debate ensued as to whether they would continue to do so. They came to the conclusion that they had reached a point of no return: what they had unveiled had changed their perception and they would never again be able to enjoy both worlds the way they used to. Accordingly, they agreed to carry on with their research, and soon after discovered that the discrepancies were even bigger than they could ever have imagined. Indeed, even current realities or past experiences of the material world were distorted in the parallel world. But not only were they different, they also changed from one moment to another. Nothing could be trusted any longer!
5 days to push the wall
Mural – paint on wood – 257 x 400cm @ Room 836 – Juntels Hotel, Hangzhou, China – 2018
Unveiling the encounter
Intervention – sticker – 320 x 435cm @ Main entrance – Juntels Hotel, Hangzhou, China – 2018
The artwork makes visible the contact surface between two opposites: the inside and the outside.
For Chinese the square symbolizes earth and the circle; inside and unity. Like Yin & Yang this piece represents the duality between these two shapes and concepts but also their unity: at the center both meet to create a passage to the other side representing the door that allows you to go though.
Mixed media – tiles and wood frame – 210 x 105 x 10cm – 2018
Crafted perspectives n°1 – Mixed media – mat and paint – 133 x 178 x 5cm – 2018 Crafted perspectives n°2 – Mixed media – mat and paint – 133 x 155 x 5cm – 2018
When the beginning meets the end
Mural – paint on glass – 100 x 200cm @ Juntels Hotel, Hangzhou, China – 2018
Mixed media – tiles and wood frame – 50 x 50 x 2 cm – 2018
I am what was, is and will be invisible
Mixed media – plexiglass and MDF – 165 x 169 x 1cm – 2018
Chosen origin & Endlessness framed
Mixed media – MDF and paint – 102 x 95 x 1cm – 2017
The intriguing moment when simplicity dissolves
Mural – MDF and paint – 261 x 724 x 0,3cm @ Airbus Latin America, Miami, USA – 2016
Mixed media – wood, plexiglass and other– 100 x 360 x 30cm – 2014
Conc, tang and lamp
Mixed media – wood and other – 90 x 60 x 25cm – 2013
Mixed media – wood, glass and other – 40 x 40 x 40cm – 2013
13 portraits and 1 self portrait
Drawing – ball pen – 29.7 x 21cm – 2012
A leopard cannot change its spots, neither can space remain relative
Installation – wood and other – 110 x 100 x 100cm – 2011
“A leopard cannot change its spots. Neither can space remain relative” is a designed box that narrates our relation to space. Space can be perceived in different ways and while experiencing the box from a distance you will experience space as relative. It will have a form, dimensions, maybe also a purpose… But when you go see what is inside you will then experience space as absolute. It will have no form, no dimensions, and no purposes; an infinite space.
The box is a physical representation of Newton’s definition of space; “Absolute, true and mathematical space remains similar and immovable without relation to anything external. Relative spaces are measures of absolute space defined with reference to some system of bodies or another, and thus relative space may, and likely will be in motion.”
Image of identity
Installation – metal and paint – 200 x 150 x 80 cm -2011
“Image of identity” is a group of “Identity chairs”. Each one is different; it has its own DNA specified by the angle and the distance of the perspective viewpoint from where the chair has not only the function but also the image of a chair. In “Image of identity” there is one perspective viewpoint from which the 4 chairs become 4 images of chairs looking or not, at each other.
The truth of the world is something which can only be experienced by removing the identity.” The identity of an object should not blind use from seeing its form.Hindu philosophy
The shortcut building
Architectural model – concept for a non religious chapel – 2010