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In collaboration with BARBÉ URBAIN GALLERY.

Adelheid De Witte’s (BE, 1982) surroundings presented in her works can be read as visible ways through which mental constructions are represented. The reoccuring depictions of landscapes arise in a rather organic way combined with uncommon shapes and colours. The results are abstract, landscape-like scenes in which light plays a crucial role.

De Witte constantly plays with paradoxes of light and dark, cheerful and sombre, abstract and figurative, illusion and reality, nostalgic and contemporary. As a spectator you get to see new perspectives on reality. In this sense her paintings are like a succession of different approaches, contexts and meanings.

The thorough study of works and working methods from all periods and from different cultures has strongly influenced the way she works today. She flirts with different perspectives and allows old and new to coexist. It ensures that her work acquires an uncanny, even disorienting character. Old objects such as lace-making machines serve as a starting point for installations, and worn-out gym rings from her own childhood are turned over and connected to tubes in plexiglass and filled with pigments that light up in the dark. The object is stripped of its original function and thus gives an orphaned impression. Something is going on, but it is not clear what.

Charlie De Voet (b. 1977 Ronse)

When artist Charlie De Voet (b. 1977, Ronse
- lives and works in Kluisbergen) talks about slow colors, it’s not just about the solidification of the many layers of oil paint that are smeared thinly and thickly together. It is also and especially about the frequent mixtures

of colors that have come to form his typical muted palette. He does not use pure colors, but mixes light and dark tones, spreading the paint alla prima and starting from the center towards the edges. The cocktail of colors thus arises wet-in-wet, in one painting session, until a green-gray color palette seems to predominate. In this sense, the seemingly monochromatic oeuvre with a dark tonality can rather be considered polychromatic. After all, he tries to achieve as much expression as possible with as few .The complexity lies in the mixture: a minimal point of departure with a maximum of multicolor.

Charlie De Voet presents an abstract composition that challenges different dimensions until it becomes a sculptural installation. He paints with a spatial character: each layer of paint moves, slides off the canvas or falters to a coincidence.

Sofie Middernacht (BE, 1985) and Maarten Alexander (NL, 1990) know how to find a perfect balance between form and content. They came together to form an artistic duo in 2016, a union that allows them to transcend the boundaries of the medium of photography, combining content that remains consistent, while continuing to adopt and adapt a versa- tile range of different materials. Their work is situated at the crossroads of spatial installation, photography, and sculpture.

They combines different techniques and mate- rials and their sculptures can be seen as a form of total installation. A multitude of mundane materials – including epoxy, aluminium, resin, dirt and dust – form the starting point for minimalworks that resemble photography, but are also sometimes more like minimalist sculptures, or large-scale visual interventions in the space.