The development of characters stands at the center of my artistic practice. These can be both Objects and Subjects and are introduced to the audience in film, scenography, and installation, combining conceptual and figurative facets in a narrative. A character; a living and thinking entity, has the capacity to embody, express, and transform a process, to bring in nuances and to accept inconsistencies. My characters are classified in a linear system:

from Subject 0 to Subject 23, the higher the number, the more complex the character gets.


My sculptures or objects are often interwoven with the narrative of a certain character and can somehow be divided into three categories. A series of Numbered Objects (ongoing since 2010) are classified in a linear system; starting from object 0 to object 8. They are made for specific situations, exploring the relationship between space, object and body. 

The Reading Objects are part of an ongoing collection of objects since 2014. They allude on the idea of the underground world as a source of information in which the past can be read by imitating characteristics of drill cores, fossils, archaeological finds and geological processes.

Sculptures for Paintings is an ongoing series of sculptures since 2017 exploring the intersection between the practice of painting and sculpture. The sculptures are especially designed to support double-sided paintings to stand up: the paintings are clamped between the sculptures so that they don’t fall over. This series was created in function - and simultaneously with - the double-sided paintings of a character called Subject 23.


In 2017, I started working on a specific kind of character: the alter ego. Subject 23 became my personal alter ego.

I explored how Subject 23a female artist who has a painting practice, came into existence. We made collaborative work, examining together the intersection between painting and sculpture until I realized that she could not be defined as my alter ego and she subsequently became my role model in 2019. Today, she’s rather present as a ghost, recognized or imagined as the author of my paintings. She is ‘that elusive other’, appearing as a tool to explore certain topics and intuitions. Subject 23's work evolves around the understanding and connection with our (natural) environment. She makes paintings depicting figures, bodies, architectural and archeological motifs which gradually transform or blend into abstraction, decompose and resolve into the background of the painting. Over time, I am constructing Subject 23’s identity and developing her artistic practice in relation to mine. The question is, what exactly is identity? Does an artistic practice reveal identity?

 

Anyone can contribute to the construction of Subject 23’s identity by writing about her, by talking, thinking and sharing thoughts on her. The point is that she is not visible. She only exists through her created image and trace, she is a speculative phenomenon.







11.12.2020 – 27.02.2021

Galerie Dohyang Lee, Paris