Artist statement

My sculptural practice explores how architectural forms can carry both mental and spatial experiences. Working primarily with ceramics, I create sculptures that draw on modernist and brutalist sensibilities, without referencing specific buildings. Rather than representing space, these works function as autonomous structures that actively engage with and activate their surroundings. Each sculptural ensemble is built by hand using different types of clay. This diversity of materials reflects the layered nature of architecture and its relationship to context. The compositions are constructed through stacked and shifted volumes, creating a dynamic tension between stability and instability, mass and openness. Void plays a central role in my work. Openings and negative spaces act as active elements, slowing down the viewer's perception and deepening the interaction between the sculpture, the viewer, and the exhibition space. Instead of presenting a closed, self-contained object, I create works that unfold through dialogue with their environment. The use of mineral paint enhances the architectural quality of the sculptures, evoking ideas of patina, surface, and time. Color is treated as a structural component rather than a purely expressive feature. My education at Sint-Lucas Ghent and my professional experience in art direction have shaped a research-driven practice in which concept, form, and spatial experience are closely connected. Within institutional contexts, I approach my work as a spatial proposition scalable, installational, and responsive to the specific architecture and discourse of each exhibition site.

About my practice

The series of sculptural elements am currently developing marks a clear tuming point in my practice. Form becomes more unstable, voids gain meaning, and begin to act as carriers of narratives hidden behind façades. Light and darkness, articulated through shadow, open up a space for interpretation by the viewer. My work operates at the intersection of concept and form-giving. I use ceramics as a field of research for sculptural questions related to instability and fragility. The patina l apply functions as a skin: a protective layer that simultaneously points toward what is yet to come. In my process, I allow the material to partially determine its own behavior. Through touch, stroking, deforming, and disrupting, forms become more abstract and straight lines lose their rigidity. In this way, the handmade remains visible, and each element becomes unmistakably unique. Working in series reinforces the idea of construction and repetition, as if fragments come together to form a new city. Through their mutual positioning, shifting relationships and meanings continuously emerge. Abstraction, geometry, and the interplay between art and industry have long been central fascinations in my work. The combination of raw materiality, polished softness, and structural honesty is key. My practice deliberately balances between the rational and the experimental, at the threshold of art, design, and architecture this forms the backbone of my sculptural language. Where movements such as Bauhaus, brutalism, and neo-and post-brutalism primarily work with concrete, steel, and stone, my challenge lies in understanding and appropriating clay as a sculptural material. I begin with traditional techniques, but deliberately distort them in order to question control, time, and imperfection. This is where my practice stands today: in motion, open, and searching.