Installation 2020, Reflective fabrics, wadding, metal, berglass, resin, 547x 300cm
Exhibition view Des choses vraies qui font semblant d’être des faux-semblants Centre Wallonie-Bruxelles, Paris
The spectator is invited to enter the installation using the light from their phones torch to guide them. On entering the space they discover a featureless character adorned with a mermaid’s tail lying in a large bed. Suspended above this is the character of a ghost cast in translucent material. Reflective fabric tails of towards and up the far wall mimicking the form of a door held ajar.
The installation is a fantasy of sorts, the material, its scale and reaction to the torch light creates a feeling of an altered state. It’s as if we walked into our own dream or that the installation is some registered memory stuck somewhere, a place in which time seems to run differently. The ghost is the presence to relate to a form of otherness, feelings that lodge inside ourselves, things we can feel around us even though they are invisible to the eyes. The ghost is a way to make this appear, the presence of something intangible, a fantasy.
The reason for the darkness and the utility of the mobile phone is to enhance and stimulate the sensation of virtuality. There is no suggestion of a particular period or place. The roles are in flux there is no ‘I’ but scenes and characters waiting for embodiment. Like a myth as it adapts over time and places so this installation lends itself to our projections..
The temptation to be a fiction
2019 Reinforced concrete, polystyren 169x56x22cm Fiber glass, epoxy resin, nylon wire 163x50x60cm
Sculpture is a ghost in itself, it is the image of what is no longer there. In “The temptation to be a fiction” a woman’s body is caught in concrete, like a vestige of our contemporary world. It’s the idea of a body, a femininity and the heaviness it implies. It’s also the idea of the classic tradition and the notion of ruin.
The ghost is presence by absence. He terrifies by what he represents no more than by what he is. A transgender being, a paradoxical body. Dive into a state of inter-matter, it symbolizes the duality of existence. The two stand side by side, Their gestures, however frozen, seem to have transcended time, they become the receptacle of a projection the place of fantasy. Fantasy meant ghost until the 14th century and finally defined a production of the imagination that allows the self to escape reality.
We do not become adults in the world that we knew, child or adolescent,we are seduced by the idea of all who we have been and who we are no longer. The hardest part is finding the presence. like a ghost we are caught in the meantime it’s also being able to wear seconds skin, to be the same and the other, the temptation to be a fiction.
Shadow Kylie 2019 Jesmonite, berglass, pigment, carboleum, paint, epoxy resin 156x67x36cm
Shadow S. 2019 reinforced concrete, pigment, carboleum 183x53x36cm
Shadow Nabilla 2019 Jesmonite, berglass, pigment, carboleum, paint, epoxy resin 166x67x36cm
La tentation d’être une fiction 2019 Reinforced concrete, polystyrene 169x56x22cm Fiberglass, epoxy resin 163x50x60cm
Exhibition The Cabin, Los Angeles USA An exhibition with Douglas Eynon “Rain paintings”, 2019
Mine troubadour reinforced concrete, pigment, glitter, paint and varnish 183x69x36cm
Gelosia reinforced concrete, pigment, glitter, paint and varnish 127x89x28cm
L.a water Plant, reinforced concrete, metal, pigment, glitter, paint and varnish. 133x56x28cm
Boo whoInstallation 2018 76,4 Brusselfiber glass, epoxy resin, glycerin, light, filter
"At the first exhibition of daguerreotypes in the middle 19c, viewers are said to have turned away from the wraith-like portrait plates in terror. Never having seen an image of a person separated from its “original”, they were spooked.
The spirit photography start with William H Mumler, he discovered the technique by accident, after he saw a second person in a photograph he took of himself, which he found was actually a double exposure. Seeing there was a market for it, Mumler started working as a medium, taking people’s pictures and doctoring the negatives to add lost loved ones into them. Mumler’s fraud was discovered after he put identifiable living Boston residents in the photos as spirits. But the current grow in the US and Europe, reaping small fortunes, using multiple exposure and other tricks to produce images of the beyond, it had become obvious that the new medium had come into its own as just that: a medium. Photography then became not only a means of representation but also a way of making ghosts”
La nuit Americaine 2017, Le Wonder, Paris reflectiv fabric, steal, foam, light source
In a room plunged in darkness, lies a luminous halo on the ground indicating the position that the spectator must take. Once standing under the halo a couple kissing comes into view.
Created from foam and reflective fabric, the sculpture’s surface reflects the light according to our position with respect to it. Once you have left the halo you can no longer discern the sculpture.
We are in front of an apparition, like an animal caught in car headlights. We find ourselves here suddenly in front of a moment of intimacy. We the spectator becoming a voyeur or seer.
-text accompanying the exhibition-
“An American night” is the name for a cinematographic technique that allows the shooting of outdoor scenes set at night to be filmed in broad daylight. The scene is typically underexposed with a blue tint added. The expression “Nuit Americaine" is exclusively French. In English, we note “day for night”.
The apple of my eyes,
Exhibition view Bruxelles, 2017
Nazar Boncuk, 1800 pebbles painted in oil
Fétiches, polystyrene, parafin, orange curtains, lead
La nuit américaine, reflectiv fabric, foam, steal, light spot
Walou, 7 steal chandelier, tassels
The exhibition is located in the backyard of a building in Molenbeek, Brussels. On the 1st floor, 1800 painted eyes are spread across on the ground. On the second floor, orange curtains are hung over empty windows, blown by the wind, coating the space in their color. Individual shoes are arranged all around the room. Orphans of their peer, frozen in an intermediate material. On the 3rd floor, the couple from La nuit Américaine is nestled upon a sofa. A projector in front of them allows us to see them as a luminous apparition. A metal chain descends all 3 floors on which 7 chandeliers are hung. It is about the void between the gaze and the intimate, the expression ‘apple of my eyes’ appears in many variations depending on which language. In Hebrew: ‘the little man in my eyes’ and in Arabic: the light of my eyes.
balls and glory
Exhibition view galerie Rodolphe Janssens Bruxelles, janvier 2016
She’s lost control, 220cm
She said, 187cm
She’s not there, 220cm
She’s so high, 224cm
She belongs to me, 183cm
Reinforced concrete, polystyren
Person 2017, pebble, oil stick, reinforced concrete
Exhibition view Island, Bruxelles, 2015
Madeleine, parafine, steal structure, 100x50 cm
Camille, reinforced concrete, polystyrene, 210cm
Psychose, parafine, 50x40 cm
Jeanne, reinforced concrete, polystyrene 169cm
Jules, reinforced concrete, polystyrene, 153cm
The exhibition ‘Novembre’ is inspired by cinema. A figure, closer to a contour is titled Camille in homage to the character in the film “le mépris”. She stands next to a grotesque shape representing an enlarged shoe, evoking fetishism. Upstairs is a parafin sculpture named Madeleine, a name that evokes memories. It is also the character’s first name in the film “Vertigo”. The female archetype of a “persona”. The sculptures are all directed towards the windows upon shutters were placed.
It’s not an opening just a peek
Exhibition view Fondation Moonens, 2015 The scope, the expected , the elongated Reinforced concrete, polystyren