ARTISTS

Selected Artists 2026

EDITION BRUGES

ArtBlocks

From an early age, creativity has been a recurring theme in An Willekens’s life, a trait she inherited from her father’s side. Through her creative process, she finds peace and balance amidst the hustle and bustle of everyday life. In her work, she deliberately chooses soft beige tones and warm earthy colours, aiming to evoke a sense of understated serenity and inviting the viewer to find stillness. ArtBlocks also offers the opportunity to have a personal and unique art object created. By integrating an element from your own interior, such as wood, a tile fragment or fabric. This gives the artwork a distinctly personal and meaningful dimension. For an extra refined finish, you can also opt for a subtle glass inlay. This creates a subtle dialogue between art, material and personal experience.

Shown here: Whisper of Saffron

BELOVED

Shown here: Plantstic V

BELOVED’s three main objectives are to put an end to the production of new plastic, to eliminate plastic waste from land and oceans, and to promote the creation of objects made from recycled plastic. Their recycled plastic supplier collects plastic waste, shreds it, and then melts it down to produce large coloured sheets, which BELOVED uses to create artworks. Through these works, BELOVED spreads a message that defends nature while exposing what they describe as its cancer, humanity. They express the view that humans will continue to prioritise consumption and profit over the protection of planet Earth. While some argue that recycling is not the solution, BELOVED questions whether leaving plastic waste in oceans and on land can be considered an alternative. In their perspective, recycled plastic has already become a resource, much like wood or coal, whether society fully accepts it or not.

Griet Bertels

Griet Bertels is a Belgian artist and illustrator. She works from a deep need to bring softness and kindness into the world, as a counterbalance to the speed, stimuli, and busyness of everyday life. In her images, space is created to pause and to daydream. They invite the viewer to slow down, to breathe, and to reconnect with feelings that often remain hidden beneath the surface. Her work does not aim to provide answers, but rather to create small openings toward calmness and a sense of inner connection. “I myself love to drift away in daydreams and can deeply enjoy reflecting on moments that made me happy. That nostalgic element is something you can recognize in my work,” she says. Hand-drawn figures, color, texture, and fragments of imagery refer to simple moments and small joys, with a touch of longing for days when everything was allowed to simply be as it was.

Shown here: Little Traveller

Bonno Blaauw

Shown here: pelargonium 310

Bonno Blauw has been experimenting since 2017 with leaves, flowers, and objects frozen into blocks of ice. The objects become a kind of “inclusion,” similar to inclusions found in gemstones. During the thawing process, he photographs what gradually becomes visible. He uses boiling water and (sun)light as part of his process. With hot water, he tries to make the ice crackle and fracture. By playing with sunlight, he aims to capture the resulting refractions, shadows, and color effects. These constantly change. Using Photoshop and Lightroom, he transforms the photographs into distinctive, colorful images. It is a time-consuming process that is often disappointing, but sometimes successful.

Linda Campens

Linda Campens her work as a painter is a continuous search for color, form, and atmosphere. She has followed an art education that provided her with a strong foundation in technique, color, and composition. For her, painting remains a personal and intuitive process in which experimentation and spontaneity play a major role. Working in large formats represents freedom and a source of joy for her; creating on a large scale invites her to let go of control and embrace the unexpected. Large-scale work allows her to become fully immersed in the moment and to experience painting as an energetic, almost physical dialogue between maker and canvas. Her inspiration comes largely from her own photographs moments that move her through their light, texture, or sense of stillness. These images form the starting point for paintings in which she translates reality into her own visual language.

Shown here: Dans van blad en bloem

Bilal Chahal

Shown here: Chronos & Kairos

Bilal Chahal (b. 1978, Tripoli, Lebanon) is a Lebanese-Dutch artist based between Amsterdam and Bogotá. Working across painting, installation, and sculpture, his practice explores identity, displacement, and the influence of context on human experience. Shaped by a life marked by migration from Lebanon to the Caribbean and Europe Chahal investigates how personal and collective histories inform who we are. His work balances abstraction with conceptual frameworks, using repetition, form, and language to question systems of meaning and connection. Through both intimate and spatial works, he creates situations that invite reflection on belonging, memory, and the relationships between individuals and the structures that shape them. In his Chronos and Kairos series, Chahal materializes the duality of time in the recurring shape of an uneven, elongated chair. Going against the convention of time representation associated with time-measuring devices such as calendars or clocks, a chair appears as a stand-in for waiting, reunion, tension, and meaning. Distorted by their uncertain state in space and time, these painterly chairs are both precise and elusive, elastic and finite, painfully slow and vanishingly fleeting.

Chesca

Chesca is distinguished by her surreal figurative works, a unique style in which reality and imagination meet to create paintings that are both poetic and enigmatic. Her palette is largely characterized by a monochromatic tendency, highlighting shades of blue and orange, her two signature colors. Blue often evokes infinity, serenity, or mysterious depths, while orange, particularly China orange, which she is especially fond of, infuses her works with a vibrant, almost solar energy. This subtle combination of tones creates an atmosphere that is both calming and intriguing, where each variation of color tells its own story.

Shown here: pot de fleurs 4

Bernardus Christiani

Shown here: dame in goud

Bernardus Christiani developed a passion for photography at the age of ten, during the era of black-and-white film, 35mm rolls, and Polaroid cameras. What began as a fascination soon became a lifelong dedication, especially through developing film and creating prints in the darkroom. To deepen his technical and artistic understanding of photography, he attended the Fotovakschool Apeldoorn in 1976, an experience that profoundly shaped his vision as a photographer. He later worked for many years as a freelance photographer and received an honorable mention in world press photography in 1977. Between 1990 and 1992, he worked as a photographer for Philips in Eindhoven, focusing mainly on industrial photography. Today, his work moves beyond traditional photography. While the darkroom has been replaced by digital tools and image-processing software, he still frequently photographs on medium-format roll film, ranging from 6×4.5 to 6×9 cm, which he later digitizes. The images he captures in various locations are carefully edited and transformed into painterly compositions, printed on brushed aluminum.

Colin Crichton

Colin Crichton is an artist whose body of work Recycled Paper Bags is rooted in transformation and reuse. In this series, he reclaims discarded paper bags sourced from a wide range of stores and commercial environments. Each bag is deliberately deconstructed, torn, crumpled, destroyed, and reassembled through an intuitive, physical process that strips the material of its original function and visual identity. Through this act of destruction and reconstruction, the paper bags are redesigned into unique artworks, gaining a new life and sense of purpose. The resulting pieces embrace a Neo-Expressionist aesthetic, where gesture, texture, and raw materiality play a central role. Marks, layers, and imperfections are not concealed but celebrated, allowing the history of the material to remain visible within the work. Once transformed, the artworks are framed using restored vintage frames sourced from flea markets. These carefully selected frames, each carrying its own past, create a dialogue between reclaimed material and traditional presentation, reinforcing the idea of recycling not only as a material process, but also as a conceptual and aesthetic one

Shown here: Venus & Dancer

Leen Crollet

Shown here: The bloody story of darkness and light

Leen Crollet’s artistic practice originates from a personal necessity, using creation as a way to reconcile her inner world with the outside world. Since 2021, she has fully embraced her artistic expression, guided by intuition and shaped by observation. Her visual language combines academic foundations from Sint-Lucas Antwerp with intuitive and experimental approaches such as neurographics, Vedic art, and LaboArte. Her work explores inner processes seeking expression. In her project Reflecting 5 Songs, she translated five original songs and her burnout experience into a multisensory exhibition of 75 works, engaging sight, smell, taste, and touch. In her current series Lines, she deepens this exploration through fineliner, acrylic paint, and collages of old encyclopedia pages. Structured columns of knowledge interact with spontaneous, organic lines, creating a dialogue between control and surrender. Her work invites the viewer to read what unfolds beneath the surface and to engage with an inner landscape made visible.

Kristien D'hont

Kristien D’hont graduated in 2014 as a laureate in ceramics from the KA in Eeklo. Whenever she places her hands in clay and begins to sculpt, it feels like coming home to herself. Through chance encounters in and with nature, she finds a great deal of inspiration. It allows her to experience moments of calm in a world that is always “on,” to listen to the sound of silence, to observe consciously, and to enjoy a flowing stream of thoughts. For her, ceramics is a way to slow down and to connect with her inner child and her surroundings. She enjoys challenging herself to translate her thoughts, feelings, and intuition into a visual language. She also has a special connection with “little feathers.” After the passing of her father due to cancer, soft, downy feathers often appear along her path, sometimes even drifting down before her eyes from the sky. Each time, this gives her a warm and comforting feeling, as if someone is watching over her. Together with her sister, she grew up in a very warm and safe home, something invaluable yet at the same time fragile and delicate, much like porcelain and ceramics. Ceramics is her passion, to which she remains devoted for life

Shown here: Aphrodite

Herman De Backer

Shown here: 3 stones

Herman De Backer is a visual artist living in Denderleeuw. He has exhibited his work on several occasions, mainly in his local region. The celebration of nature and impressions of travel are central themes in his mixed-media paintings. Over time, these works have gradually evolved toward greater abstraction, resulting in a highly personal artistic language. In addition, he creates monumental black-and-white drawings on canvas. These “patient” frames of immersion are part of the series Brains. There is a clear reference to Abstract Expressionism in this body of work

Inge De Belder

The all-encompassing body of work of Inge De Belder revolves around observing, feeling, understanding, and empathizing. Each work carries its own story and speaks for itself. These stories take shape in bronze or stone, in woodcuts, etchings, or charcoal drawings, in both very small and very large formats. Yet the foundation, the point of departure, and the fascination remain constant: the human being and their relationship with nature, with themselves, and with others. In this process, anything can serve as a source of inspiration: a small branch from a tree, the vastness of an overwhelming landscape, a disconcerting situation or a particular expression, world news or a dream, harsh reality or irony. It is up to the viewer to discover it. You do not always see what you see

Shown here: wereldrugzak

Hans De Cuyper

Shown here: Waltz of Bouquets

Hans De Cuyper is a versatile Belgian artist and designer from Sint-Niklaas whose work balances graphic precision with painterly freedom. Driven by what he calls “pure enthusiasm and passion,” his recent paintings focus on large-scale abstract-expressionist floral compositions, often measuring 2 by 2 meters. Inspired by the flowers and colors of his own garden, he transforms nature into expressive works filled with texture, movement, and emotion. In his studio, he leaves behind the structure of his design practice to explore a more intuitive artistic language. De Cuyper studied at the Royal Academy of Fine Arts Ghent from 1987 to 1991. Alongside his artistic career, he has worked for more than thirty years as an independent graphic designer and art director through his studio Brandle. His motto, “Simplicity is the hard-won mark of mastery,” reflects his pursuit of clarity in design and contrasts with the layered expressiveness of his paintings

Yves De Vocht

Yves De Vocht (b. 1964, Antwerp) is a Belgian visual artist specialized in drawing, with a focus on ink, pencil, and mixed techniques. His practice combines graphic precision with pictorial sensitivity, drawing inspiration from historical aesthetics such as Gothic and Renaissance motifs, as well as world mythology and cultural symbolism.Working predominantly in black and white, with restrained accents in red or gold, his art explores enduring themes: time, identity, ritual, and transformation. De Vocht is currently developing a coherent and distinctive body of work, grounded in tradition yet oriented toward international contemporary relevance

Shown here: Gothic Hall

Lindsay Declercq

Shown here: Auxilio Venit

Lindsay Declercq’s work is a quiet reflection on life, survival, and time on what it means to be human within the fragility of existence. In her charcoal drawings, she searches for essence. Using sparse means, strong lines, and a light, sometimes ironic sense of humor, she creates scenes that balance between seriousness and playfulness. The drawings pose questions without imposing answers. They invite recognition, a smile, and a moment of pause to reflect on our own transience. Humor functions here as a gentle but necessary counterbalance to the weight of life. Her paintings are more colorful and open up a different register. Color, rhythm, and organic forms refer to nature as a source of calm and wonder, or to memories of joyful moments. They remind us of the beauty that often goes unnoticed present in the small, the quiet, and the ordinary. After a period of illness, her artistic practice regained a central place in her life. Drawing and painting became a way to mark time, to breathe, and to reconnect with what is essential. This experience is not an explicit subject, but an underlying sensitivity that remains present throughout her work. Her oeuvre moves between lightness and depth, between reflection and wonder as an invitation to observe life with attentiveness and gentleness.

Joëlle Delferrière

Joëlle Delferriere is entirely devoted to her art; she regularly exhibits her work, the result of a unique artistic exploration. Her approach is built around a formal rhythm, in which figuration is governed by abstract principles: she spatialises, articulates and arranges relationships between masses, lines and shades of grey, in search of the dynamics of form. Whilst her subjects draw on the body, life, nature and the infinite complexity of reality, something indefinable occurs during the creative process. From her observation of the world emerges a non-descriptive work, oriented towards thought and intuition, revealing a unique universe

Shown here: Mémoire minérale bleue

Christine Delhoulle

Shown here: Kalia

Christine Delhoulle is a Belgian visual artist whose practice bridges craftsmanship and digital art. For over twenty years, she has explored the tension between organic materiality and digital imagery. Her creative process begins with natural elements such as earth, dried leaves, seeds, and pigments, carefully selected and assembled. These materials then undergo a digital transformation, where the organic evolves toward abstraction. The resulting works are hybrid compositions that are both graphic and sensory. They evoke nature on a microscopic or cosmic scale, inviting a contemplative experience between texture and light. Her practice unfolds through a dialogue between wall tapestries and digital images, where fiber and pixel extend and respond to one another. For this presentation, her work follows one guiding idea: Matter and image merge into a new visual language

Yann Deschepper

What began for Yann Deschepper as a way to calm his mind grew into a fascination. Seven years ago, Yann started cutting and pasting collages. Not as an art project, but as a mental exercise. Something to help him tune out the noise of the day. Abstract paintings soon followed, then detailed ink drawings, and eventually the work he creates today: paintings of abandoned buildings and half-submerged structures, in fresh colours and a minimalist, almost silent style. Those half-submerged buildings are also more than an aesthetic choice. They are a whisper to the future, a world where the water rises and architecture slowly disappears. Not an alarming statement, but a quiet question. Painted in fresh hues, almost serene, as if nature is calmly going about its business. The unease lies not in the colour, but in what you recognise. Yann is entirely self-taught. No formal training, just a keen eye, curiosity, perseverance and an inexhaustible stream of ideas that find him whilst out walking, in the street scene, in the architecture of everyday life. His studio is at home. His inspiration is everywhere

Shown here: Charger à la sortie

Carla Emmink

Shown here: Geloof, hoop, liefde en veiligheid

Carla Emmink’s artistic career (from 1990 to the present) is primarily dedicated to creating drawings, illustrations, and paintings centered on themes related to the LGBTQ+ community. Her work is deeply informed by her personal experiences and her position as a lesbian, shaped by her upbringing and broader societal developments over the years. Carla is highly motivated to create these works because she believes that visibility is essential to supporting the LGBTQ+ community. Making these themes visible and therefore open to discussion helps strengthen both the sense and the reality of social safety for LGBTQ+ individuals.

Myriam Eygemans

Myriam Eygemans (4 October 1956) lives, writes and paints on waves of wistfulness and melancholy that accompany her just as much in times of joy as in difficult times. She loves nature, its grand and minute elements, which often embrace her with bewilderment, commanding awe and admiration. The enigma of this life, the ups and downs of people: it fascinates and intrigues her. She pours all of this into forms and words, large and small, sober or colourful. Sometimes there is comfort, but a rational core is never far away. Like grassland that lies silent beneath the mist. You cannot see it, but it is there.

Shown here: We people

Veronique Fournier

Shown here: Chaos Magick

Veronique Fournier’s practice explores vibrational painting as an investigation into the energetic flows that govern living systems and consciousness. She conceives each canvas as a field of frequencies, where color, micrometric line work, and geometric structure act as vectors of an invisible dynamic.
Her current body of work is structured around three complementary research axes

Seishin Geinojin

Seishin Geinojin is an artist based in Brussels, Belgium. Guided by a sensitivity to deep natural forces, he studied painting at the Royal Academy of Fine Arts in Ghent. Alongside his artistic training, he also explored philosophical traditions in his native cultural context, including tantra and shivaism. In contrast to the tradition of major philosophical thinkers such as Plato, Nietzsche, Schopenhauer, Aristotle, Marx, and Freud, painting is approached here as a form of “non thinking philosophy.” This perspective is also described as an irrational philosophy, grounded in feeling, sentiment, spirituality, and other unnameable dimensions of experience. From this point of view, the vibrations emerging from material painting are understood as self sufficient, standing out on their own without the need for conceptual explanation. As a painter, Seishin Geinojin explores materiality itself, as well as the tensions and conflicts that arise between color, form, and matter

Shown here: Hoop

Dominque Genin

Shown here: The Ghosts of 9 11

Dominique Genin’s work moves photography beyond its traditional role as a tool for capturing the instant. He seeks instead to express duration, stretching lived experience through images shaped by ambiguity, instability, and movement. His photographs act as mirrors that invite viewers to access and construct another reality. He rejects the idea of a fixed, monocular vision. For him, the eyes are constantly in motion, and reality is an ongoing construction of sensations that cannot be reduced to a single stable appearance or purely rational understanding. The exploration of thresholds is central to his practice. These spaces do not separate; they are where differences come closest. He brings together opposites: light emerging from darkness, order within chaos, blur expanding clarity, shadows taking on colour. Abstraction stretches reality while impressionism shifts toward expressionism. Concealment becomes a way of revealing, and the viewer becomes an active participant. His creative process relies on multiple exposure at the moment of shooting and handmade filters that distort light and lines. Working primarily in the field, he builds images in real time through layering, masking, and repetition, reshaping reality and enriching it with multiple temporalities. The resulting images remain deliberately open. By embracing unpredictability and introducing chance into a controlled process, he encourages viewers to reconstruct their own perception. His work unfolds in extended series exploring states, tensions, and sensory experience.

Paul Groen

Paul Groen is a painter from Alkmaar. From a young age, he has been engaged with art, beginning with drawing comics. He developed his painting practice through self study.
He started with detailed painting, focusing on figurative subjects and landscapes. Over time, his work evolved into an impressionistic style and eventually into abstraction. His current work consists of abstract paintings that lean toward minimalist compositions, often with a rusted appearance.
Color and texture play a central role in his paintings. He finds inspiration in the weathered beauty of old ship hulls and containers, particularly drawn to their imperfections and signs of decay.

Shown here: Rust Never Sleeps

Henriette H Jansen

Shown here: Not afraid of the dark

Henriëtte H Jansen, a Dutch painter living in France has, over the years, developed a distinctive visual language in which color forms the point of departure. Inspired by the many landscapes she traverses, she gathers impressions that resist literal capture, instead translating into a subtle and layered use of color. Her work is abstract and operates at the intersection of perception and stillness. In her paintings, she explores the balance between form and emptiness, between presence and absence. Color assumes an autonomous role detached from the landscape from which it originates, yet still imbued with memory and experience. With a refined sense of composition and rhythm, she creates works that are both restrained and intense. Her paintings invite slow looking an attentiveness to nuance, harmony, and the essence of the moment. Extending this pictorial inquiry, the artist has also been developing work in ceramics for many years. Her objects, crafted from black clay, carry forward the same investigation, in which attention to color, material, and composition unfolds in space. Between painting and sculpture, a palpable continuity emerges, where color no longer resides solely on the surface, but enters into dialogue with form and presence.

Vincent Haesen

Rude, alias Vincent Haesen, was born in Brussels. Trained in graphic design and active for several years in interior architecture as a Visual Merchandiser, he ended his professional career in 2025 to fully dedicate himself to his artistic practice. An instinctive drawer since childhood, he discovered graffiti in his teenage years and became deeply immersed in hip-hop culture. From 1996, this aesthetic became a true vocabulary for him, an urban calligraphy that he has continuously questioned and developed. For nearly thirty years, he has focused his work on the exploration of four letters R, U, D, E, a motif he relentlessly deconstructs, reconstructs, and reinvents. This voluntary constraint becomes a rich field of experimentation, where each variation asserts a singular gesture. His compositions are distinguished by an almost architectural precision, a sharp sense of detail, and an internal dynamic that gives his works a particular vibration. Always in search of new possibilities, Rude combines different typographic languages to create balanced, powerful, and immediately recognizable compositions. Using acrylic, pencil, or marker, on canvas or paper, he develops a contemporary visual writing where structure and energy meet. Revisited in its ancient meaning remarkable, famous, sacred, the word rude becomes the manifesto of his artistic approach: an assertive, demanding, and deeply personal creation that claims the power of the sign and the impact of the gesture. His work is part of a plastic research in which the letter becomes a space of creation in its own right. Inherited from graffiti but freed from its initial codes, the four letters of RUDE form for him an infinite field of exploration, a motif he deconstructs, stretches, densifies, or refines to reveal its graphic power

Shown here: Mastery

André Honnay

Shown here: De splitsing

André Honnay was born in Ghent in 1962, where he lives and works. He is characterized by a highly individual and independent artistic path, deliberately distancing himself from mainstream trends and the easy routes followed by others. His work reflects a persistent search for authenticity and a personal visual language. He always starts from reality, then transforms it by giving each painting its own identity, resulting in an unreal dimension. He describes his work as unreal realism. Each piece exists on its own. He does not rely on a fixed colour palette, as the painterly writing guides the process and determines the authenticity of the work

Jef Horvers

Jef Horvers is an artist whose core artistic vision lies in a fascination with the delicate balance between movement and stability found in arthropods (Arthropoda). His sculptures emerge from an exploration of how such creatures are able to stand and move on impossibly thin legs. The continuous metamorphosis in his work reflects both the natural progression of life and the infinite possibilities of artistic exploration.
His work evolves from organism to machine. This so-called Arthropoda project now consists of more than 200 pieces. His ambition is to present the lines of evolution as one coherent whole: an overview in a structured formation that visually reveals their progression. Such an installation would expose the interconnectedness of his sculptures and highlight how they collectively form a unified, ever-growing artistic system

Shown here: JEH01119

Gert Humme

Shown here: Elements of life 1

Gert Humme, working under the name Life is Limitless.
As an abstract contemporary artist, he constantly pushes boundaries, both in technique and in emotion. His work stands out through its layered complexity and the interplay between subtle and vivid colors.
His travels and the cultures he has encountered have had a strong influence on his practice. Brazil, in particular, serves as a major source of inspiration: its nature, colors, and even tropical fruits can be seen reflected in his paintings.
His motto is simple: “Live without limits.”
His art is characterized by an intuitive and expressive style, in which color and texture play a central role. He enjoys working with rich, contrasting colors that evoke emotion and draw the viewer into a layered narrative.

Remigijus Januskevicius

Remigijus Januskevicius (°1976) lives and works in Jonava, Lithuania, where he has maintained a deep connection with nature, everyday life, and the simple joys of existence since childhood. His artistic journey began early, attending the School of Arts for Children and later graduating from the Department of Painting at the Vilnius Academy of Arts. In his work, Remigijus seeks the essence of happiness: a moment of rest on a hill, working in the fields, listening to music, or simply enjoying a cup of tea. These seemingly simple experiences are transformed into universal images that resonate deeply. His art becomes an ode to life itself, to the beauty hidden in the everyday. His characters, always faceless, could be any one of us. They celebrate life: flying, resting, working, swimming, or playing in the wild. A sense of longing for an original state of being recurs throughout his work, a harmony with the world, with others, and with oneself. All of Remigijus’s paintings are executed in oil on canvas. After years of experimentation and exploration, he developed his own painting style by combining delicate glazes with thick, textured strokes, making full use of the unique qualities of oil paint. This results in works that are both refined and expressive. The central theme of his work is the joy of life, which not only plays an aesthetic role but also serves a therapeutic function. His paintings invite the viewer to pause, reflect, and rediscover a connection with nature and the quiet richness of being. His art is a silent reflection of inner harmony, the visual language of his soul

Shown here: City of lights

Susanne Klaeren

Shown here: Still life

In her still lifes, Susanne Klaren unfolds a radical poetics of reduction. The white tablecloths, which appear as a constant backdrop, become fields of concentrated perception in which light, materiality and minimal shifts create a quiet dramaturgy. The few objects, fruits and bowls, are not arranged but placed like symbols of a precise, almost liturgical order. In the repetition of the motif, a cycle emerges that formulates not so much variations on an object as variations on the art of seeing itself. Klaren's painting rejects an! narrative charge and instead opens up a space of contemplative presence: a place where the unspectacular becomes a form of pausing and the visible asserts its own quiet intensity.

Kai Klostermann

Kai Klostermann is a Hamburg-based artist whose photographic work explores the tension between freedom and constraint. In his water pieces such as “Daria” and “Entwined Within Me”, bodies appear suspended between floating and grounding, fragile and powerful at once. His color-driven works like “The Radiance Within Me” and “Ecstasy of Liberation – Calm” capture moments of pure expressiveness, where color becomes emotion and skin becomes canvas. Shaped by the vastness of Africa and the density of Hamburg, Klostermann creates a visual dialogue of distance and closeness, protection and release. For ArtistMeeting in Bruges, he presents a selection of key works following one guiding idea:
Every human is a work of art.

Shown here: Series VIII

Femke Krol

Shown here: Zeejuweel

Femke Krol (Amsterdam, 1965) works at the intersection of nature, memory and poetic transformation. In her Zeejuweelseries, shells become the starting point for intimate compositions in which colour, texture and form are carefully reimagined. Collected over many years, these natural fragments are transformed into artworks that evoke the sea, distant journeys and the emotional resonance of found objects. Her practice invites reflection on beauty, fragility and the layered narratives embedded in nature

Igor Lannoye

Igor Lannoye creates artworks at Atelier SLIEK, which he runs together with his partner Nico Patteeuw.
Igor produces ceramic wall pieces and vessel sculptures. Inspired by Japanese clay traditions, he tells small, contemporary stories through ceramics. His work explores the boundary between fantasy and reality, connecting form and aesthetics with reflections on the time in which we live. At times, his work carries a critical edge, while at other moments it reveals a playful, almost childlike quality.
The result is work that comes to life in the light

Shown here: Toronto's blessing in milk

Livi

Shown here: Intervento Divino

Livi was born in 1973 in Nivelles, Belgium. From a very early age, color, light, and movement imposed themselves on her as something self evident, almost a necessity. Painting became a language even before it became a practice. She trained at the École nationale supérieure des arts visuels de La Cambre in Brussels, where she notably explored analog photography and painting. Her path then shifted toward languages, Russian and English, without ever breaking away from creation. Her artistic work has continued to develop in parallel, like an unbroken thread. Since 1991, Livi has exhibited regularly, pursuing a line of research rooted in expressionism, where acrylic becomes a space for sensitive experimentation. Today, her work takes shape through collage, mainly using tissue paper. This fragile material allows her to explore transparency, layering, and also the tension between appearance and disappearance. The series she presents, Filo Rosso, is inspired by an Asian philosophy according to which an invisible and indestructible thread connects those who are destined to meet. This red thread runs through her work like a silent presence, connecting forms, spaces, and layers, as well as what is seen and what is felt. Her compositions incorporate architectural elements freely inspired by Italy, structures that evoke memory, passage, and a certain sense of suspended time. Between construction and intuition, her work seeks a point of balance, a space where matter, gesture, and emotion enter into dialogue, and where invisible connections can emerge.

Martin Lovenfosse

Martin Lovenfosse is a painter who uses art as a way of expressing himself and portraying the people he admires or holds dear. Since a young age, portraiture has been at the heart of his practice.
Alongside portraits, he also explores flowers and nature, bringing a sense of softness and color into his work. His approach is deeply inspired by the Impressionists, whose vibrant brushstrokes influence his own visual language.
Through subtle color gradients, he reinterprets his favorite subjects in a personal and expressive way

Shown here: Portrait d'Adrian Ghenie

Tessa Lucas

Shown here: Echoes Beneath the Surface

From a young age, Tessa Lucas has been deeply sensitive to the unseen energies that shape spaces. Over time, this sensitivity became her artistic compass. She began creating artworks not to decorate, but to restore. Each pigment, binder, and surface she uses is self developed, free of synthetic substances and grounded entirely in nature. What results are works that do not impose themselves, but rather allow the room to breathe again. Tessa’s art is an invitation to stillness, to reconnect with what is pure, raw, and essential. Tessa Lucas creates art pieces that neutralize and harmonize the energy of your space. Working exclusively with self developed materials such as clay, loam, and natural pigments, her work restores stillness and balance where modern life has left noise. Her practice stands between material and energy, between art and atmosphere, where form, matter, and vibration meet. Quality is not a word, it is a devotion. Each piece is crafted from 100 percent handmade Belgian linen or jute, chosen for their purity, strength, and timeless character. After two years of searching for the finest natural compositions, the materials now speak in quiet harmony, tactile, authentic, and alive. This is not decorative art, but transformative presence. Every fiber carries the story of patience and touch, embodying a calm power that restores balance within the space it inhabits.

Carla Meertens

Carla Meertens creates assemblages in found boxes, combining porcelain and everyday objects into intimate sculptural compositions. Her work explores themes of interaction, observation, and perception through small-scale series.
Evolving from monumental ceramics to more conceptual practices, she focuses on the meaning of leaving behind, letting go, and reuse. Existing elements are brought together into new and meaningful connections.
Her works are often playful yet carry a quiet melancholy, unfolding as subtle visual riddles. Beneath their lightness lies a sense of mystery and sometimes a raw undertone. Guided by reflection and sensitivity, Meertens reveals the vulnerability and disappearance of things. Each piece invites the viewer to look closer and discover more than what first appears

Shown here: Date II

Julie Nollet

Shown here: Zwaluw

Julie Nollet creates powerful, intuitive abstract paintings in acrylic on linen, each work emerging from a direct inner impulse. Layering, texture, and fluid movements of color form the core of her visual language. Through an uncompromising interplay between control and letting go, she produces works that resonate immediately and continue to echo.
During ArtistMeeting, she presents a selection that highlights her distinctive signature and artistic intensity

NONO

Under the name NONO, artist Tony Vanooteghem creates an intriguing body of work that makes the fragility and strength of human existence tangible. His paintings exist at the intersection of realism and emotion, where everyday scenes are infused with a deeper, universal meaning. With a sharp eye for human interaction and body language, NONO brings quiet moments to life. His figures speak without words, yet they resonate directly with the viewer’s emotions. Gaze, posture, and subtle tensions form the core of his work, in which the balance between innocence and reality is constantly palpable. The series Silent Stories is exemplary of his artistic vision. In these works, NONO captures fragments of childhood, vulnerability, and connection in images that are both restrained and intense. Each painting invites reflection and leaves room for personal interpretation, allowing the viewer to become part of the story. Through his considered use of light, contrast, and composition, a tension arises between beauty and confrontation. NONO does not depict spectacle, but rather pure and unfiltered life moments that are recognizable, yet rarely presented with such honesty. In addition to his artistic practice, NONO has also developed his own gallery and studio, where art and experience come together in an open and accessible environment. His work stands for craftsmanship and quality, with carefully selected materials that enhance the durability and presence of each painting. During ArtistMeeting, NONO presents a selection of works that embody the essence of his oeuvre: quiet, intense, and infused with human emotion. His art does not merely invite you to look, but above all to feel

Shown here: The begging child

Jozef Peeraer

Shown here: Fantasie

Jozef Peeraer is an artist whose work begins from the idea of a blank page, perfect, where nothing needs to be added and yet this emptiness encompasses everything. A young, restless mind in constant search draws lines, stains, water, and pigment onto the blank, all-containing white paper. In the place where life is lived, the merging of his mind with brush and paper creates an insight into time, the mind, and the surrounding world. Not much is said, but much is painted.
Yet these brushstrokes also invite imagination, encouraging us to ask questions and gently pushing our perception. Let yourself go and enjoy

Mira Peters

Mira Peters is a painter and illustrator educated at the Rijksacademie Beeldende Kunsten in Amsterdam. Her practice centers on oil painting, often developed in series that allow themes and ideas to unfold across multiple works.
Balancing the narrative with the abstract, Peters explores subjects such as people, portraits, animals, beaches, and nature. Her work is also informed by contemporary reality, which subtly shapes the atmosphere and context of her imagery.
Working across both large and small formats, as well as on paper, she creates a varied body of work that moves fluidly between scale, subject, and expression

Shown here: Strandmeisjes

Joëlle Picquet

Shown here: La douceur de plis

Joelle Picquet has always had a needle between her fingers.
She has traveled the world, and it was in India that she discovered natural indigo, which opened up an infinite space for creativity.
In its depth, this blue is captivating: it offers a sense of peace in a restless world.
She enjoys hunting for and giving new life to old fabrics… lace… allowing them to tell a new story.
As her work is created by hand, it carries the gentleness of time, in which her inspiration can flourish and her work come to life.

Natalya Radünz & Dirk Verschueren

Interference is a collaborative project by Natalya Radünz and Dirk Verschueren, the artists work on the same canvas through a process of sequential intervention. Developed as a series of works, the project explores tension, transformation, and the changing nature of authorship in contemporary art.Rather than merging into unified style, the paintings evolve through dialogue, where figurative structure and atmospheric abstraction intersect and influence.
Natalya Radünz is a metamodern artist and icon painter based in Germany. She studied Contemporary Art at the Sotheby’s Institute of Art in London and holds degrees in engineering, an MBA, and a Harvard certification in strategy. Her practice merges traditional and modern techniques, exploring themes of transformation, spirituality, and cultural transition. Influenced by Orthodox symbolism and philosophical concepts. She works in oil, tempera and mixed media.
Dirk Verschueren is largely self-taught, although in recent years he has immersed himself in the painting techniques of the old masters. The more exclusive part of his oeuvre consists of nude paintings, in which classical techniques merge with a contemporary cubist interpretation. His artistic vision centers on capturing the beauty of the human being and the everyday things that surround us. In his paintings, he strives not only to depict a physical likeness but also to convey the soul and emotion of the model at that specific moment. His portraits are characterized by a high degree of realism, while his nudes show a cubist influence, dissecting the human body into shapes and tonal planes. Yet, there remains a sense of harmony and connectedness throughout the composition.

Shown here: Interference

Luchian Raluca

Rubain

Rubain (°1993, Roeselare) is a Belgian artist who works on fragile surfaces such as medical packaging and cardboard. His practice is rooted in fragmentation, vulnerability, and the tension between care, the body, and identity. By combining figuration with raw, incomplete supports, he creates a visual language in which presence is never fully fixed, but always exists in a state of transition.
Recently, he has been collaborating with UZ Brussels, Prof. Dr. Maarten Moens, and Prof. Dr. Lisa Goudman on the book “Living with a Neurostimulator.” Within this project, he is developing a series of paintings that visually translate the medical and emotional reality of patients, operating at the intersection of clinical context and existential experience

Shown here: Solitude

Anne Ruffert

Anne Ruffert is a German mixed-media artist based in Cologne whose work is deeply inspired by the forms and textures of nature, including wood, earth, water, sky, leaves, and tree bark. In natural structures she often discovers human-like figures and faces, which become the starting point of her artistic process. Her paintings combine acrylics with materials such as sand, stones, wood dust, concrete, coffee, and marble powder, resulting in richly textured works with depth and unexpected shapes. Through collage, corrugated cardboard, foils, and experimental wiping and flowing techniques, she creates compositions that encourage viewers to interpret their own meanings and forms within the image. Photography also plays an important role in her work. By digitally enhancing details found in bark, branches, and landscapes, she reveals hidden faces and structures, transforming overlooked natural elements into expressive visual artworks. Ruffert lives and works in Cologne, where she also maintains her studio, and she is a member of several artist networks

Henny Salimans

Henny Salimans draws with chalk in a way like painting horses on canvas. She combines expressive lines with surfaces in subtle range of colouring.
On 3, 4, 5 or more panels the theme ‘Horses’ has been abstracted. On these so called polyptychs ‘roll’ horsebacks over the panels endlessly repeated as a never ending motion of waves.

Shown here: Abstract 3

Thomas Schmeller

Shown here: Sky clouds

Thomas Schmeller (*1954) is a rock musician, pavement artist, graphic designer, illustrator, visual artist, and art and music therapist.
These roles mark the stages of his artistic development. He is known as a master of multilayered application of paint, moving between hyperrealistic forms and abstract structures. In Bruges, he presents the latest and final works from the series The Way Of The White Clouds. On extraordinary blue surfaces built up from more than 80 layers of different blue acrylic paints white structures float, possibly clouds, or at least memories of celestial phenomena. In any case, they function as a sign of transience: a constant coming and going, a symbol of life. This series The Way Of The White Clouds will not be continued, making this a unique opportunity to see the final original works.

Zoë Schoonbrood

Zoë Schoonbrood works with what usually disappears: the first line, the doubt, the attempt.
She does not stop when it becomes “right”, but when it is still in motion. The drawing remains
open. Her work consists of loose, searching lines, where color is not a filling but a field on raw
linen. Not a background, but a tension from which the line emerges. She introduces a second layer: a glass plate on which lines are drawn, equally raw, equally unresolved. These lines do not exist on the canvas itself, but above it. They cast their shadow onto the linen. What you see is never a single image, but a shift between line and shadow.
Depending on where the light falls, the work changes. The line doubles, distorts, disappears. The shadow becomes part of the drawing, sometimes stronger than the line itself. The body in her work is not a form, but an attempt. Arms are repeated, a back breaks off, a head is sometimes nothing more than a trace. An anatomical dance

Shown here: Blijft Het

Ingeborg Selleslags

As a sculptor and photographer from Antwerp, Ingeborg Selleslags explores the vulnerability that resides within every human being. Her sculptures and photographs depict the human figure in its imperfection, fragile and marked, yet at the same time powerful, robust and imbued with a quiet beauty. Within this tension between fragility and strength, a visual language emerges that moves, slows down and invites the viewer to look beyond the surface.
For her sculptures, she works with materials such as porcelain plaster and polyester, each of which in its own way reinforces the fragile yet resilient nature of her themes

Peter Simoens

In his work as a painter, Peter Simoens continuously searches for a balance between realism and abstraction. His style can best be described as modern realism, where the images he creates are both recognizable and, at the same time, transformed through abstract elements. This tension between the concrete and the alienating lies at the core of his artistic vision. Color plays a central role in his paintings. He uses a distinctive palette composed mainly of soft, subtle pastel tones, creating a calm and serene foundation. To disrupt this harmony and introduce energy and movement, he incorporates vivid color accents. These contrasts not only enhance the visual impact of the work but also invite the viewer to look beyond the first impression. Another defining aspect of his work is scale. He prefers large canvases, which allow him to handle paint in a loose and expressive manner. This approach enables both detail and nuance, while also immersing the viewer in the atmosphere of the painting. The size of the works creates a physical closeness and encourages an active dialogue between the viewer and the image

Shown here: N°4

Hervé t'Serstevens

Shown here: Yearling

Hervé t’Serstevens is a sculptor specializing in animal sculptures. His work is rooted in a deep connection with nature, which has inspired him since early childhood. After training as an engineer-physicist and psychologist, he first built a career in the corporate world, where he was active for many years. At the same time, his urge to create steadily grew, until he ultimately made a decisive choice for art. He studied at an academy of sculpture and was also trained by a compagnon du devoir. In this way, he developed his own figurative style. His sculptures, first modeled in clay and then cast in bronze, capture the pivotal moment in which the animal seems to come to life. He has exhibited works including leopards, horses, dogs, and birds. Strength, tension, and elegance are central themes. In his studio, often accompanied by Baroque music, he seeks the essence and harmony of the animal. Hervé t’Serstevens is a member of the Cercle Royal Gaulois

Anne Van Achter

Anne Van Achter (Antwerp, 1965) is a versatile artist currently based in Buggenhout. Building on a strong graphic foundation in the visual arts, she has, over the years, developed a distinctive and recognisable visual language in which colour, movement and symbolism take centre stage. After completing her studies in the Sciences, she obtained a bachelor’s degree in Applied Graphic Design at the renowned Sint-Lucas Institute in Antwerp. Her career began in the publishing world, where she designed educational children’s books, before spending many years shaping the visual direction of companies across a range of sectors as an Art Director. This graphic background forms the basis of her current artistic exploration across painting, sculpture and ceramics. In her paintings, colour, movement and symbolism form a unifying thread. For Anne, colour is never merely an aesthetic choice, but a vehicle for emotion and meaning, while her expressive, restless brushwork evokes a sense of dynamism and the fleeting nature of existence. Her work invites the viewer to slow down, to pause, and to experience the layered richness of the moment. Alongside her acrylic paintings on canvas, her ceramic work explores the very limits of the material itself. Where painting is driven by expression, working with clay centres on purity and the surprising resistance and constraints imposed by the material. Her oeuvre arises from intuition and the present moment, maintaining a subtle and harmonious balance between technical mastery and pure emotion

Shown here: Marionette

Christel van der Jagt

Shown here: Field#9

Christel van der Jagt was born in Oostburg, the Netherlands, and has been living in Belgium since 2011, in Knokke-Heist, Antwerp, and Maldegem. Her artistic education began at the academy in Knokke, where she followed the higher degree in painting. In total, she completed six years of art education: five years of training supplemented with one year of specialization. She graduated in Arendonk after particularly enriching years. During her studies, she painted extensively. The focus was mainly on portraits and nudes, with the human body as an important subject of study. In that period, she organized vernissages and also created commissioned works. Painting was a natural part of her daily life. From 2018 onwards, this process came to a halt due to health problems. For several years, she did not paint. In November 2024, she resumed painting, starting from new interests and insights. She consciously chose to focus entirely on abstract work. With her restart, a strong momentum emerged. Where she previously worked exclusively with oil paint until 2017, she now paints with acrylics. This choice is closely linked to her working method. She builds her work in countless layers, and the faster drying process allows her to work in a focused and layered way. Her work has evolved from a pronounced and rich color palette to a different way of seeing and painting, where color still plays an essential role but is translated into “silent” works. Her inspiration arises from inner concentration, within which she works without a predefined end point and only determines carefully chosen colors. The painting then develops intuitively and in layers, with each layer responding to the previous one, and the final image only revealing itself during the process

Esther van de Steene

Esther van de Steene is an artist and designer based in Amsterdam. She graduated in 2003 from the Design Academy Eindhoven. Her work is playful, distinctive, and immediately recognizable, featuring colorful figures and simple forms that evoke a smile while also lingering in the viewer’s mind.
Behind this light tone lies a sharp observation of human behavior, emotions, and everyday moments. Her visual language is accessible and narrative-driven, where humor and vulnerability go hand in hand, and each work has a role to play in its interaction with the viewer

Shown here: Wishbird #2

Ad van den Boom

Shown here: The language of life

Ad van den Boom is an artist who describes himself as a “crealist”: someone who looks at reality in a creative and perceptive way. In his work, he does not approach the world as something fixed, but as something that continuously emerges through the way we perceive it. This vision forms the foundation of his artistic practice. Trees are a central theme throughout his oeuvre. For Ad van den Boom, trees are not static objects, but living carriers of stories. They grow, bend, take root, and bear the traces of time. Like humans, they respond to their environment. In his paintings, he tries to make visible what often goes unnoticed: movement, change, and interconnectedness. By placing himself within trees, he metaphorically gives them a voice. His work stems from what he calls “crealism”: a way of seeing in which reality is not fixed, but arises in the attention with which we observe. What we see is never only what is there, but also what we recognize in it. In this way, he invites the viewer to look beyond the obvious. His artistic process is slow and organic. Some paintings take hundreds of hours to complete and are built up from thousands of dots and layers. The image gradually grows from within, much like a tree. Alongside his large paintings, he also creates smaller works and black-and-white drawings, constructed from dots, lines, and marks. What was once secondary has become the core of his artistic life. In his work, image, language, and silence come together. Not to provide clear answers, but to create space for different ways of seeing and experiencing. He summarizes this approach in one idea: not seeing, but being.

Dennis Van den Bossche

The diverse oeuvre of Dennis Van den Bossche includes both paintings, bronze and graphics in which the universal prevails over the anecdotal.
The paintings are made using both modern and old techniques (glazing).

Shown here: De Klak

Nathalie Van Mulder

Shown here: Chaos

Nathalie is a self-taught artist who began her creative journey around ten years ago. She discovered painting as a way to release her feelings and thoughts following a burnout. Exploring what she can achieve with paint and canvas remains an ongoing challenge, driven by her love of experimentation. Each painting emerges from this process, without a fixed signature style, guided instead by what brings her joy in the studio.
In addition to her artistic practice, she offers workshops titled “Relief through Paint,” where participants are given the time and space to process their emotions. These sessions are not traditional painting classes, but rather safe environments that encourage personal expression through paint.
Alongside her visual work, Nathalie also writes poetry. She does not seek perfect rhyme or form; instead, she brings together words that arise from the chaos of her mind, capturing impressions and experiences inspired by her surroundings.

Lieve Van Nuffel

Lieve has been involved in art since childhood. She grew up in Brussels, where she also studied fashion. This not only taught her to work creatively with materials, but her course also included drawing and painting.
Twenty years ago, she moved to the coast to live and work.
She very quickly came to see the saying, ‘A picture is worth a thousand words’, as the artistic guiding principle of her life.
In her designs, she was inspired by the surrealism of Paul Delvaux, captivated by the impressionism of Claude Monet, and, much like René Magritte, she often works at the kitchen table; perhaps this also prompted her to weave collage elements into her works. Her introduction to the oeuvre of Roger Raveel marked the beginning of her expansion into mixed media.
In the municipality of De Haan, you will also regularly find Lieve at the local academic workshops

Shown here: Akita met rode strik & zwarte spiegel

Dirk Van Spitaels

Shown here: Soft Tension

Dirk Van Spitaels, based in Turnhout, explores in his recent work the boundary between recognition and abstraction. Starting from natural structures such as leaves, organic forms, and microscopic details, he develops a visual language in which the familiar gradually dissolves.
What initially appears recognizable begins to shift upon closer observation: forms lose their fixed meaning and transform into pure structure, rhythm, and tension. His work moves between the visible and the intuitive, between surface and essence.
Through a distinct use of black and white and a strong emphasis on contrast, he creates quiet images that feel both fragile and powerful. Rooted in a practice shaped by observation and intensity, his work invites a slower way of looking and reinterpreting. The viewer is encouraged to question what they see and to look again.

Richard Van Witzenburg

Richard van Witzenburg is a Dutch fine art portrait photographer and historian who creates carefully staged images inspired by art history, vivid color, and layered symbolism. His work connects timeless human themes with the present. In his series Primitive Me, he explores how identity is shaped, performed and perceived. He draws inspiration from the visual language of the Flemish Primitives, known for their precise, intimate and symbolic portraiture of real individuals. Each image presents a subject stripped of context such as profession or status, revealing a more essential and personal layer beneath. By combining historical references with contemporary styling and symbolism, Van Witzenburg creates portraits that feel both timeless and immediate. His work questions how much of who we are is truly our own, and how much is actually shaped by expectation, roles and social structures. At ArtistMeeting Brugge, he presents a selection from Primitive Me, where classical composition meets modern identity, inviting the viewer to look beyond appearance and consider what remains when external labels fall away

Shown here: The painter

Barbara Vandendriessche

Raïssa 18

Barbara Vandendriessche developed her artistic practice after a twenty-year career as a theatre director and set designer. Over time, photography became central to her work, allowing her to return to a more essential and stripped-down form of expression. Her photographic work focuses on staged images that explore physical and psychological vulnerability. Within her practice, vulnerability is approached as a form of openness rather than weakness, carrying both a confronting and comforting quality. Through restrained body language, stillness, and the use of theatrical lighting, she constructs intimate scenes in which a tension emerges between body and mind, as well as between strength and fragility. Her visual language draws from portrait traditions in art history, incorporating elements such as subdued poses, chiaroscuro, and rich, earthy tones. These references are not treated nostalgically but are translated into a contemporary context, where presence replaces posing and gazes suggest connection without offering clear explanations. Rather than presenting fixed narratives, her images aim to evoke emotion and intensity. They suggest stories without fully revealing them, leaving space for interpretation and personal resonance. The works presented form a selection of portraits created between 2020 and 2025.

Christian Vermeiren

Christian Vermeiren develops a photographic practice centred on landscape, water and perception. In his series Dream In The Forest, the forest is not represented directly: it appears through reflections, vibrations, fragments and metamorphoses. Water becomes at once surface, mirror and living matter a space in which reality is transformed, revealing a more inward dimension. This approach is based on a subtle search: to approach the sensory truth of a landscape not through direct description, but through its transformed image. Reflections ripple, fragment, overlap and invert forms. Trees, sky, foliage and light merge into a visual language close to painting, between abstraction and contemplation. Each photograph seems to emerge from a natural double exposure, offered by the world itself. Christian Vermeiren works with colour in a restrained way, almost as a material of silence. His images do not seek spectacular effect; rather, they invite slow attention, a sense of presence, leaving the viewer space to continue what the water has begun. His work belongs to a tradition of contemplative landscape and inner landscape. One may sense a dialogue with abstract and meditative photography, but also with painting, particularly the legacy of Monet’s Water Lilies: a world in which the horizon disappears, sky and water merge, and surface becomes depth. With Dream In The Forest, Christian Vermeiren offers a poetic vision of nature, fragile and constantly shifting. The series transforms the forest into a passage between reality and dream, between observation and memory. It does not merely show a landscape: it reveals its echo, its breath and its mystery

Shown here: Green Reverie

Franky Weyn

Shown here: Blauw Leven

Franky Weyn creates a layered and dynamic visual universe in which abstraction and figuration blur. His works resemble a palimpsest, constructed from overlapping layers of paint that reveal depth and hidden stories depending on the light and viewing distance. Central to his artistic world is the vulnerable human identity within an overstimulated society. combines tight grids, geometric shapes, and vertical lines with nervous sketch lines and fiery colors such as red and black, which express inner turmoil. Opposite these intense hues are calmer shades of blue and white, which invite contemplation and reflection. Recognizable elements such as fragmented faces, masks, and animals symbolize memories and the complexity of modern existence. Through his intensive technique, his works acquire a rich texture and a sense of history, inviting reflection. Weyn moves effortlessly between abstraction and figuration, often incorporating human contours and symbolism within urban and maritime settings. His style, influenced by Expressionism and Surrealism, has secured a prominent place in the Flemish art scene. His works, suitable for minimalist yet characterful interiors, serve as windows onto movement, reflection, and human emotions. Exhibitions in Belgium and Italy underscore the universal power of his visual language, which radiates tranquility, strength, and human connection. Through his art, Weyn creates a visual adventure that balances between chaos and calm, exploring the complexity of human existence. He explores the noise and silence of consciousness and invites the viewer to explore the depths of human emotions and memories.

Sahir Yerunkar

Sahir Yerunkar grew up in Bombay, where he graduated as an engineer. At a young age, he moved to Belgium, where a new version of himself discovered concepts such as aesthetics and visual expression. For someone trained to be rational, it felt like entering a completely different world. He was always interested in photography, though initially in a casual, point and shoot way. His real journey into photography began with a frustrating and ultimately unproductive attempt to capture the atmosphere of a scene lit by an open fireplace. That moment of frustration became the turning point that led him to explore the deeper craft and artistry behind photography. More than a decade ago, this experience marked the beginning of his path toward becoming a professional photographer. He attended a vocational photography school for two years, but eventually felt that the structured environment was too rigid for him. Having gained enough foundational knowledge, he chose to continue learning independently, through targeted workshops and focused practice. Today, he runs a modest photography studio in Nijlen, a small and peaceful town in the Belgian countryside not far from where he lives. Alongside his commercial work, he enjoys experimenting with light in portraiture. For him, photography remains a constantly expanding field: the more one learns, the more there is to discover. Each new experiment brings a sense of satisfaction, and the possibilities feel limitless, filled with colour and imagination.
Let there be light

Shown here: Inside Out

Wim Zorn

Shown here: Averain

Wim Zorn is an artist whose autonomous works are often associated with those of Serge Poliakoff. At the core of the practice lies abstraction, where free forms and color serve as the foundation for surprising and balanced compositions. A self-taught Dutch artist, whose career evolved from figurative painting into a purely abstract language