current exhibition

link to the invite

opening April 5, 2017 – the exhibition runs until April 29, 2017



You don’t need an app to experience the real thing –nothing can beat standing in front of the real work–

Maarten Ceulemans, Bendt Eyckermans, Michaël De Clercq, Ermias Kifleyesus, Abdalla Omari, Caroline Van den Eynden, Oscar van der Put, Jonas Vansteenkiste, Nils Verkaeren


GROUPSHOW - Kunstenaars


GROUPSHOW - zicht-2

exhibition view


exhibition view, works by Abdalla Omari and Jonas Vansteenkiste


exhibition view, works by Caroline Van den Eynden, Michaël De Clercq and Abdalla Omari



Maarten Ceulemans, °1983
The human figure has always played a central role in the work of Maarten Ceulemans. By using traditional techniques, he creates his figures with various materials. For several years, wood is his main medium. His images often close off the space and the viewer or sometimes even seem unfinished. This revealing aspect arouses the curiosity of the viewer and invites interaction.

CEULEMANS - The_lying_wood_2016_±145x45x30cm

Maarten Ceulemans – ‘The lying wood’, 2016, wood (poplar), ± 145 x 45 x 30 cm


Bendt Eyckermans, °1994, lives and works in Antwerp
According to Bendt Eyckermans, everything he paints is true; every subject is an event or a recent memory that he has to process through painting. In these paintings, he explores the boundaries between realism and expressionism, which leads to subtle deformations of his models and an expressive portrayal of color and light.


Bendt Eyckermans – ‘Farewell & the Tower’, 2016, oil on canvas, 160 x 100 cm

EYCKERMANS - Gaëlle_180x120cm

Bendt Eyckermans – 2017, oil on canvas, 180 x 120 cm

EYCKERMANS - Bendt_180x120cm

Bendt Eyckermans – 2017, oil on canvas, 180 x 120 cm



Michaël De Clercq, °1981, lives and works in Antwerp
De Clercq likes to create scenes using landscape as a starting point. Scenes in which he places figures and shapes derived from memory, dreams and everyday experiences. These objects then seek out a balance with each other and their environment and eventually form a second reality, a blurred out parallel reality and an alternative memory.


Michaël De Clercq – ‘Untitled’, 2017, oil on canvas and frame, 44 x 54 cm

DE-CLERCQ - TheWalkOfAGiant_2014_42,5x62,5cm

Michaël De Clercq – ‘The Walk of a Giant’, 2014, oil on canvas, colored plexi and frame, 42,5 x 62,5 cm


DE-CLERCQ - FalseAwakeningI_2015_oil on canvas and frame_51 x 61 cm

Michaël De Clercq – ‘False Awakeing I’, 2015, oil on canvas and frame, 51 x 61 cm



Ermias Kifleyesus, °1974, lives and works in Brussels
Ermias Kifleyesus’ art engages existing systems, the marks and creations left behind by others. He wants to bring these together, rework, partly erase, select and add to them. In that sense, there is a collective factor present in each piece; he uses other people’s contributions. In recent work he started with damaged canvases left behind by second-hand traders at flea markets. Using a chemical adhesive mix and sticking on thin cotton rags, Kifleyesus meticulously peels away varnish and layers of paint from such a discovered composition. In this process, in which chance and imperfections play their parts, one image becomes many images, like a filmic sequence of variations giving an insight into the artwork’s creation and degradation. Kifleyesus makes visible and destroys. In his archaeological working method the process takes precedence over the actual image of what is or becomes visible.
Kifleyesus can possibly be seen as a sort of ethnographer and archaeologist of our current globalist consumer society. (part of a text by Eva Wittocx)


KIFLEYESUS - Shark_Fin_Soup_2016_212x133cm

Ermias Kifleyesus – Shark Fin Soup, 2016, mixed media on canvas, 212 x 133 cm, 2016


Ermias Kifleyesus – ‘Child Soldiers Perspective, dorne aerial view’

KIFLEYESUS - New_chance_2016_70x50cm

Ermias Kifleyesus – ‘New Chance’, 2016, mixed media on canvas, 70 x 50 cm



Abdalla Omari, °1986, born in Damascus, lives and works in Brussels
The ‘Vulnerability Series’ consists of large volume oil/mixed media on canvas. Omari started this project in 2014, depicting the world political figures in very vulnerable states, breaking their image of ultimate power.
Fraught with emotion, Omari’s oil on canvas compositions tackle complex psychological states, yet retain a profound beauty through their painterly application and realistic portrayal.
The painting ‘Angela’ depicts the German Chancellor, Angela Merkel, with a headscarf amidst a group of roosters.

OMARI - Angela_fotoDirkPauwels

Abdalla Omari – ‘Angela’, 2016, oil and acrylic on canvas, 200 x 150 cm. Photo: Dirk Pauwels



Caroline Van den Eynden, °1982, lives and works in Antwerp
Van den Eynden constructs meticulous small glass houses, out of which stairs that lead nowhere protrude, as well as the signposts which are devoid of text, token and symbols. They look like small show-cases, displays that have become jewelry in itself and in which the absence of human figures evokes an agreeable emptiness. There is something about these models that attracts individuals looking for reflection. The emptiness is not dismal at all, the transparent little spaces don’t evoke social phobia, the absence of figures, movement or sound show us merely an agreeable form of silence. (part of a text by Jeroen Laureyns)


VANDENEYNDEN - Alfabet S -chrome

VANDENEYNDEN - Arch.Alfabet S(concept for an open-closed space area,indoor),brass,glass,28x40x15,5 & plinth100cm

Caroline Van den Eynden – ‘Arch.Alfabet S(concept for an open-closed space area,indoor)’, brass and glass, 28 x 40 x 115,5 cm (15,5 cm without plinth)

VANDENEYNDEN - Arch.S-indoor

Arch. Alfabet S (concept for an open/closed space area, indoor), 2017, brass and glass, 28 x 40 x 115,5 cm (15,5 without plinth)

VANDENEYNDEN - Parliament III, concept for an outdoor speech area

Caroline Van den Eynden – ‘Parliament III, concept for an outdoor speech area’, 2014, steel, brass, textile, 107,5 x 280 x 40 cm

VANDENEYNDEN - Escape-detail-losstaand

Caroline Van den Eynden – detail of a work from the Escape-series



Oscar van der Put, °1989, born in Eindhoven, lives and works in Brussels and Ghent
The paintings of van der Put are fragile and delicate, they have a muted color palette of white, beige and grey. They are abstract, the painterly process is the real subject. A recurring theme is the magic of color, detected by the light. In particular, he focuses on the white, with a touch of color, and their ever-changing appearance.

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Oscar van der Put – ‘Untitled’ tempera on linen, 155 x 215 cm

VANDERPUT - #14_33x37

Oscar van der Put – ‘Untitled #14′, tempera on linen, 33 x 37 cm

VANDERPUT - Untitled_52x62cm_2017_tempera_on_canvas

Oscar van der Put– ‘Untitled’, 2017, tempera on canvas, 52 x 62 cm

VANDERPUT - Untitled_18,5x29cm_2017

Oscar van der Put – ‘Untitled’, 2017, tempera on wood, 18,5 x 29 cm



Jonas Vansteenkiste, °1984, lives and works in Kortrijk
The work of Vansteenkiste evolves around the concept of space, especially in the architectural sense of the word.
The ‘house’ in itself is a reflection of an identity, which is accompanied by an inner experience, excitement and growth. By input from everyday society, we are subject to change. This change regenerates an adaptation and evolution that is exposed by Vansteenkiste poetically. We question our identity. Who are we really? The answer is that we are still in the making, clear answers do not exist.
These still lifes give him the perfect platform to play with color, form, texture, light and shadow.

VANSTEENKISTE - TheWayYouOnceLeftMe_DSC_2190

Jonas Vansteenkiste – ‘The way you once left me’, 2011, wood, plastic, light, 303 x 200 x 142 cm – UNIQUE PIECE



Jonas Vansteenkiste – ‘A house is not a home (house trap)’, 2012-2013, grass carpet, wood, plastic, stick, light, 380 x 300 x 120 cm – UNIQUE PIECE

VANSTEENKISTE - housemorphing

Jonas Vansteenkiste – ‘Housemorphing’, 2013-ongoing series, sculpture in polyamide and light, plinth in steel, ± 14 x 16 x 10 cm, UNIQUE PIECE


Nils Verkaeren, °1980, lives and works in Antwerp
Verkaeren questions the landscape, one of the major genres in traditional painting.
The paintings in the show are all created during a trip of three months he undertook in Argentina with a mobile atelier to paint his large scaled impressions of the landscape.
All Verkaeren’s paintings and oil sketches originate in sensory perception. He needs the observation, the experience of the landscape and the melancholy silence while painting. He is also an enthusiastic walker, and during his many walks in the landscape he distils the essence from the landscape: light, structure and composition. However, he equally needs the studio space to approach the painting as an abstract image again, to strip it of superfluous emotions.


Nils Verkaeren – painting in progress (from his recent roadtrip in Argentina)

VERKAEREN - Argentina_1

Nils Verkaeren – painting in progress (from his recent roadtrip in Argentina), 2017

VERKAEREN - imaginary-diary_09-02-2017,Argentina,2017_

Nils Verkaeren, ‘Imaginary Diary 09/02/2017, Argentina, 2017, 17 x 22,5 cm

VERKAEREN - Argentina_2_105x165cm_2017

Nils Verkaeren – oil on canvas, 105 x 165 cm, 2017

VERKAEREN - Argentina_105x165cm_2017

Nils Verkaeren – oil on canvas, 105 x 165 cm, 2017