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Marnix HOYS' figures have no arms or arms that are too short, stand on sturdy legs with feet that are far too small, have incisions or “deformities” in their intensely black skin, and often have no eyes or only rudimentary indications of a face. They carry bells, “backpacks” or other additions. Literal and symbolic significance go hand in hand.
Marnix Hoys' life is steeped in ceramics. Throughout his career, he was the driving force behind the ceramics studio at Sint-Lucas Ghent, where he himself studied in the 1960s. As an artist, he also helped shape the modern history of sculptural ceramics in our region.
His passion for the human figure and its relationship with nature is an integral part of his oeuvre. Another decisive factor is undoubtedly his intense interest in the technical side of the craft, for which he still regularly travels to Japan to hone his skills. He also draws on Japanese culture for the numerous symbols that make his work so unique.
-text: Gustaaf Vander Biest-
Marnix Hoys' life is steeped in ceramics. Throughout his career, he was the driving force behind the ceramics studio at Sint-Lucas Ghent, where he himself studied in the 1960s. As an artist, he also helped shape the modern history of sculptural ceramics in our region.
His passion for the human figure and its relationship with nature is an integral part of his oeuvre. Another decisive factor is undoubtedly his intense interest in the technical side of the craft, for which he still regularly travels to Japan to hone his skills. He also draws on Japanese culture for the numerous symbols that make his work so unique.
-text: Gustaaf Vander Biest-
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