23 january 2024, Yves Joris
Naked souls and dynamic forms: an invitation to intimate dialogue at the Shoobil Gallery
Anyone hurrying past the Shoobil Gallery these days will undoubtedly slow down their pace and lift their gaze, as anthropomorphic figures seem to have taken over the gallery, voyeuristically gazing at naively naked female figures on canvas. A science fiction film theme? No, an invitation to intimate dialogue between Erica Cotteleer and Benjamin Volckaerts.
At first glance, the work of both artists seems to have little in common. Volckaerts lets his creatures/creations roam freely in his own 3D universe, while Cotteleer's work waits statically on the wall for the visitor’s attention. But for those who take the time to look closer – because time must be taken – will see more similarities emerge in the work of both artists: the meticulous mastery of their craft and the ease with which they allow you to read your own story into their work.
Benjamin Volckaerts, Just Hold on, 2023, Shoobil
Dressing and undressing like a 3D collage
Benjamin Volckaerts is a young Belgian artist born in 1999 who lives and works in Antwerp. He studied sculpture at the Royal Academy of Fine Arts in Antwerp, where he was taught by, among others, Nadia Naveau, an influence that is clearly evident in his work. In 2022, he won an honourable mention at the Tenth Mark Macken Prize for Sculpture.
Benjamin Volckaerts, Teal, 2023, Shoobil
Volckaerts' sculptures are not static but dynamic. He designs his ceramic elements to be interchangeable, allowing him to dress and undress his sculptures like a 3D collage. He considers his work a continuous process of sculpting, always leaving room for new elements and experiments. He also blends different style periods in his work, such as the Baroque, Mayan culture, Romanesque and Rococo, as well as abstract modern forms. He experiments with the proportions of the human body and the viewer's perception. Driven by a commitment to abstractly represent the proportions of the human body, the sculpture serves not only as artwork, but also as a dynamic carrier and pedestal.
Exploring the boundaries between nakedness and nudity
A considerable amount of nudity, primarily female, in Cotteleer's work is the first thing that catches the eye. Describing their posture is challenging. At first glance, they seem vulnerable, but on closer examination, you can’t help but notice the mischievous smile around the corners of their mouths, suggesting that these ladies are very much aware of their nudity and the power it radiates.
In Erika Cotteleer's enchanting world, the division between being naked and being exposed is expressed in a profound exploration of self and subjectivity. According to John Berger, being naked is a private affair, an intimate experience with oneself, similar to vulnerability under the flowing water streams of a shower. In stark contrast, nudity places an individual in the crosshairs of external criticism, turning them into an object for the gaze of others.
Erika Cotteleer, When the seascape lingers, 2021, Shoobil
Cotteleer's female subjects appear brave, standing side by side with the artist herself. The artist not only depicts their physical forms, but also delves into their souls, becoming an active voyeur who identifies with her subjects in an intimate way. Who are these women and what drives them to position themselves independently of external desires? They radiate a celebration of freedom, embracing their sexual power with unrestrained lust. Yet behind the explicit portrayal of femininity hides a subtle interplay of charm, shyness, shame and discomfort.
Against the backdrop of dressed interiors, rich in decorative elements that exude a sense of comfort and privacy, Cotteleer creates tension between lifeless objects and human figures. Eroticism unfolds through the lens of the female gaze as a subtle interplay of tension, detail and gradual build-up. Are the objects in these scenes running the artist’s errand or do they cater to the passive spectator in a fleeting moment in time? Who are these women?
Erika Cotteleer, Porch of boredom, 2021, Shoobil
While the artist places her subjects within architectural constructions, a story unfolds – a story whose key to understanding seems lost in a world steeped in the meaninglessness of existence. Could these be houses of joy, despair or desire? Erika reveals an elusive intimacy, inviting the viewer to contemplate the essence of these paintings and elusive architecture contained within. Are the women aware of the gaze upon them? In Erika's illustrated daydreams, the act of looking and being looked at plays a crucial role, revealing a complex interplay of emotions without restraint in moments of melancholy and introspective darkness. Through this artistic exploration, Erika Cotteleer invites us into a world where vulnerability and empowerment coexist, where the gaze is both a source of discomfort and a vehicle for deep connection.
Dialogue between anthropomorphic beings and vulnerable female figures
In the exhibition, an engaging dialogue unfolds between the work of Erika Cotteleer and Benjamin Volckaerts. Volckaerts' dynamic sculptures experiment with abstraction and figuration, while Cotteleer's paintings explore the deep divide between nudity and exposure. The gallery becomes the stage for encounters between anthropomorphic beings and vulnerable female figures. Volckaerts' 3D collages and Cotteleer's thoughtful paintings invite the spectator to intimate contemplation with art and the stories contained within. Together, they challenge the viewer to look beyond superficial perceptions and remind us of the depth and versatility of art as a poetic journey through human existence. In the subtle nuances of the Shoobil Gallery, naked souls and dynamic forms celebrate the power of art, where beauty lies in a simple yet profound reflection of life.
Benjamin Volckaerts en Erika Cotteleer, Shoobil
