current exhibition

Next exhibition:

The Human Condition‘ duo show by Tom Poelmans and Michaël De Clercq

opening September 6 (7-9 PM)


POELMANS - DePieter_42x29cm

Tom Poelmans, ‘De Pieter’, 2018, oil paint on wood, 42 x 29 cm


POELMANS - zicht_6

‘Kiezen is Verliezen’ and ‘Binary Sunset’ by Tom Poelmans

POELMANS - Kiezen_is_verliezen_40x30cm_DONKERDER

Tom Poelmans, ‘Kiezen is verliezen’, 2018, oil on canvas, 40 x 30 cm

POELMANS _ BinarySunset_60x50cm

Tom Poelmans, ‘Binary Sunset, 2018, oil on canvas, 60 x 50 cm

POELMANS _ Part_Time_Painter_30x24cm

Tom Poelmans, ‘Part Time Painter”, 2018, oil on canvas, 30 x 24 cm

POELMANS - BigCityLife_50x40cm

Tom Poelmans, ‘Big City Life’, 2018, oil on canvas, 50 x 40 cm


POELMANS - detail_The_Tower_30x25cm

detail of the painting by Tom Poelmans ‘The Tower’, oil on canvas, 30 x 25 cm

POELMANS - Paint the damned Red Horse or I will drink your face_30x40cm

Tom Poelmans, ‘Paint the Damned Red Horse or I Will Drink Your Face’, oil paint on wood, 30 x 40 cm

POELMANS - ManZonderLicht_100x80cm

Tom Poelmans, ‘Man Zonder Licht’, 2018, oil on canvas, 100 x 80 cm

POELMANS - zicht_1

view of the exhibition, paintings ‘Dancing on the pina colada’ by Michaël De Clercq and ‘A Candy Coloured Clown’ & ‘The Tower’ by Tom Poelmans

DECLERCQ - BlueCarpet_100x120cm

Michaël De Clercq, ‘Blue Carpet’, 2018, oil on canvas, 100 x 120 cm


View of the exhibition, paintings by Michaël De Clercq



view of the exhibition ‘The Human Condition’


DECLERCQ - PinkBeach_120x150cm

Michaël De Clercq, ‘Pink Beach’, 2018, 120 x 150 cm

DECLERCQ - BlueTape_100x120cm

Michaël De Clercq, ‘Blue Tape’, 2018, oil on canvas, 100 x 120 cm

DECLERCQ - I_don't_like_slippers

Michael De Clercq, ‘I don’t like slippers’, 2019, ink on paper, 30 x 40 cm

DECLERCQ - drawing_2

Michaël De Clercq, schets voor ‘Blue Carpet’, ink on paper, 2018, 30 x 40 cm




1984, lives & works in Antwerp

Tom Poelmans operates in a pictorial no man’s land of sorts. His paintings function as depictive pin-pricks to the traditions of the art of painting, but appear to escape every conceptual or pictorial frame. ‘Style’, for one, does not seem to interest the artist. Repetitive, abstract, almost painfully ‘decorative’ compositions pop up next to hyperfigurative scenes where captions would seem to undermine every form of gravitas.



1981, lives and works in Antwerp

Michaël De clercq gets a lot of his influences from everyday objects surrounding him, dreams, experiences from the past, science. Travelling has a big part to play. Nature has a profound effect on his need to recreate and understand what he sees. The many fruits and vegetables he sees passing by, thanks to his girlfriend’s fascination for food, are surly an inspiration for colour and form. He likes food in general. The characteristics of paint itself and the medium of painting as a whole are undeniable at the base of his work but he gets also a lot of influences from his other occupations in the world of printing and graphics.

He likes to create small scenes filled with figures. These forms are in a constant search for balance. Communicating within themselves, others and their surroundings. They are floating, falling or leaning against each other. Sometimes lifting off into the air, other times subject to a fierce gravitational force. Only to eventually stretch into a fading reality. An alternative memory.



meanwhile elsewhere:

– Bendt Eyckermans, solo @ De Vereniging van de Vrienden van het SMAK, Ghent, opening September 21, 2018 (8-11 PM)

– ‘Soft?Tactiele Dialogen’ @ Maurice Verbaet Center, opening September 27 (7-10 PM)