Collections
Manuela Klerkx
Large-scale sculptures in 8 versions
Small is nice. And big isn't always better. Yet, size can really matter in sculpture. Sometimes a simple enlargement of an everyday subject can have a resounding effect, such as the oversized spoons, apple roses, ice creams and saws of the Swedish-American artist Claes Oldenburg (1929-2022). Traditionally, statues consist of sturdy and precious materials such as marble, ivory or bluestone, but over the centuries the value of the material itself became less important and eventually every kind of material from concrete to recycled plastic was used. In addition to the one-piece sculptures, there are also the plastics in which the artist creates her or his own sculptures on the basis of moulds (filled with clay or wax) or casting moulds (for bronzes), but also on the basis of metal or steel. In the course of the 20th century, sculptures became more abstract - or contain abstract elements - and sometimes took on an installation-like character because of the individual elements with which they were built, because of the decaying material with which they were made or because they were designed for a specific location. were intended (in-situ). The 20th century saw many great sculptors such as Auguste Rodin, Camillle Claudel, Brancusi, Henry Moore, Niki de Saint Phalle, Charlotte van Pallandt, Barbara Hepworth, Giacometti, Donald Judd, Louise Bourgeois and many others who, each in their own way, unleashed a veritable 'iconoclasm'. For this collection I will be looking for a number of contemporary iconoclasts.
0 Media items ᛫ 7 Available artworks
2 Shows ᛫ 0 Highlights ᛫ 0 Recommendations
Maxime Brigou (1992) lives and works in Ghent and is known for her large-scale sculptures with strong pictorial influences. Despite the fact that in recent years she has mainly focused on making sculptures and installations, her past as a painter is never far away. Brigou tries to make the suggestive, the fleeting and undefined, visual and tangible. By integrating elements such as time, space and natural light into her work, her images seem to be in constant motion. In her latest series, the images resemble boulders that are partially hidden from view by a kind of 'film' that she overlays and softens the view.
(Represented by FRED&FERRY)
(Represented by FRED&FERRY)
7 Media items ᛫ 24 Available artworks
2 Shows ᛫ 1 Highlights ᛫ 0 Recommendations
Lily van der Stokker (1954) gained international fame with her exuberant, decorative drawings and monumental murals and installations. Anna Tilroe recently said about her work: 'It is pure female power in a soft disguise.' (De Telegraaf, September 5, 2022). In her apparently soft but at the same time rebellious work, Van der Stokker refers to themes such as beauty, love and kindness, but also to cosiness, sociability and everyday activities such as cleaning or a visit to the doctor. Like many of her conceptual colleagues, Van der Stokker often uses text in her work, but with reference to themes that are not done in art or at least unusual, such as old age or VAT. Van der Stokker's frivolous and decorative visual language consisting of flowers, clouds, curls and garlands in soft pastel shades raises questions about what we consider typically 'feminine'. She plays with clichés found outside but also inside the art world. Her fresh, anarchic work is the antithesis of the prevailing norms of good taste, and is void of any irony or cynicism of any kind.
(Represented by Galerie van Gelder)
(Represented by Galerie van Gelder)
2 Media items ᛫ 33 Available artworks
8 Shows ᛫ 0 Highlights ᛫ 2 Recommendations
The eclectic and exotic oeuvre of Jennifer Tee (1973) consists of sculpture, installation, performance, photography and collages as part of an 'in-between state' or, as she calls it ‘the soul in limbo’. This 'soul of uncertainty' is buzzing with life, it’s restless while being trapped in an indefinable place: a mental, psychological and physical space on the border of the possible and impossible, the present and the absent. Tee investigates themes such as intercultural identity and the associated stories and rituals, but also the imminent loss of one's own identity or language and the relationship with original cultures. The process-oriented character of Tee's work is reflected in the way in which media and disciplines, cultures and symbols overlap. Her intensive collaborations with other artists, graphic designers and architects and her knowledge of artisanal production processes and traditions are essential for this – she regularly travels to China to master the age-old ceramic technique. The 2018 installation 'Ether Plane Material Plane' is a fine example of how Tee fuses different objects, materials and images into one large sculpture consisting of framed photographs and ceramic objects such as balls and lines, informally attached to a wooden structure. The viewer cannot help but wonder what the meaning of all those objects, shapes and constructions are. And for that we have to dive into Tee's world of Indonesian Tampan cloths, tulip bulbs, ceramics, tiles, tents and drawings.
(Represented by Galerie Fons Welters)
(Represented by Galerie Fons Welters)
0 Media items ᛫ 21 Available artworks
5 Shows ᛫ 0 Highlights ᛫ 0 Recommendations
Yvan Derwéduwé (1972) is fascinated by materials (concrete, pipes, wood and bricks), objects (from toilet paper to beer crates and from statues of saints to birdcages) that he uses to create imaginative images, sometimes deliberately to the point of being kitsch, but always with visual and narrative qualities to them. He manipulates the 'ready-mades' or images and objects that he finds by processing or even destroying them, so that the original meaning is called into question or even disappears completely. Derwéduwé is also known for his tall plastic towers, the so-called 'Arnold van Soissons' - after the name of a saint - for which he melts plastic crates with a gas flame until the colours and materials mix, the recognisability of the original object has virtually disappeared and a free, sculptural quality is created. Through this technique and the constant arranging and rearranging, constructing and deconstructing the individual elements, he offers a different view of the reality in which people live.
(Represented by De Wael 15)
(Represented by De Wael 15)
Fran Van Coppenolle
0 Media items ᛫ 11 Available artworks
1 Shows ᛫ 0 Highlights ᛫ 0 Recommendations
The colourful, often large and floating images of Fran van Coppenolle (2000) suggest weightlessness and movement. They resemble solidified living organisms consisting of a steel skeleton and a vegetable or wing-like textile body. Van Coppenollle: 'I am busy creating forms that comply with physical laws, spatial structures with an internal logic that evoke associations with architecture, fauna, flora, anatomy or medical objects.' Van Coppenolle lives in and with nature, on her family farm in Wingene, Belgium, and without much contact with the outside world (she also hardly uses a computer or smartphone). Her work is an ode to the beauty of nature and an imaginary world in which aesthetics, softness and tangibility predominate. However large her images may be and whatever shape they may have, they always surprise because of the combination of recognition and wonder they evoke. If only the world were as beautiful and soft as Van Coppenolle's images.
(Represented by Galerie Transit)
(Represented by Galerie Transit)
Tom Volkaert
4 Media items ᛫ 0 Available artworks
1 Shows ᛫ 2 Highlights ᛫ 0 Recommendations
The peculiar sculptural forms of Tom Volkaert (1989) often refer to what is happening in his memory, but also refer to spiritual and shamanistic qualities. Using materials such as enamelled ceramics, epoxy and oxidized metal, he searches for a balanced combination of refined craftsmanship on the one hand and strategic use of chance on the other. Many of Volkaert's sculptures consist of circles on legs, called 'steering wheels' by the artist. These works - like totems - are symbolic and organic artefacts that can act as guardian spirits and bring us into contact with something extra-terrestrial or our ancestors. At the edges and within these circles, twisted, cobweb-like limbs, entrails and sickly satanic tongues are carefully arranged as if time stood still for a moment. Volkaert's so-called steering wheels also function as a totem insofar as they symbolize his own life and memories. Certain colours embody specific personal memories, but they can also represent a collective event. The use of greyish pink for the umbilical cord and deep red for the placenta, for example, refers to the birth process that we have all gone through personally and share as a collective.
(Represented by Everyday Gallery)
(Represented by Everyday Gallery)