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Kasper Andreasen Panel No 101 2021
Raphaël Buedts Kam 1979 1984
Sine Van Menxel hoekzonnen 2020 2022
13.03.2022 12.06.2022

Vocabularium

Kasper Andreasen, Raphaël Buedts, Sine Van Menxel

The exhibition Vocabularium focuses on 'collecting reality'. In their own way, these artists translate their perception of shapes, objects and patterns into a specific medium that is subject to a thorough investigation. Works of art sprout up like words in an endless chain of signifiers and associations, a lexicon of personal and archetypal references. Vocabularium is conceived as a combination of three solo presentations that are interwoven into a melodious ensemble.

In his work, Kasper Andreasen (1979) tries to make abstract notions such as time and space tangible. In his small panel paintings, he investigates the texture and writing of paint through compositions that are sometimes abstract yet often echo landscapes and urban structures. Andreasen registers and catalogues his many travels by collecting tickets, clippings, packaging material, notes and printed ephemera into sculpture-like books. He also recovers, processes and translates maps and scientific illustrations into drawings.

For the creation of his sculptures, Raphaël Buedts (1946-2009) chooses the simplest means: wooden blocks and planks, branches, later also plaster and bronze. Buedts' working method is direct, sober and unpretentious. The artist stacks and builds following the basic principles of physics: gravity, mass, volume versus void. The colours and structures as well as light and shadows of the landscape inspire him to composed and at the same time poetically 'shaky' compositions; objects that bear a clear reference to furniture from an intimate, domestic environment.

Sine Van Menxel (1988) works with analogue photography techniques. For Van Menxel, the creation of the image spans several time layers: the initial recording, the printing, but also the period in-between, in which the latent image transforms inside the artist's head. Light and space are captured and simultaneously uprooted from the concrete context. In the darkroom, Van Menxel processes the negatives with unconventional means: she licks the photo paper, sits on it or adjusts exposure times and chemicals until an expected or unforeseen effect is achieved. Exhaustive testing and experimentation leads to a sensual series of layered images.