Bij Sint-Jacobs 13
9000 Gent

Friday & Saturday
From 18:00 until late

︎ ︎ 

Attention, je hebt gelijk je bent een dwaas!

By Raquelle Verheyen, Fanny Wellens, Ella Schöning

Raquelle Verheyen - 
My practice consists of readymade and  found objects, that I turn into assemblages and installations. With  unexpected objects, different techniques  and personal details I create a variable  work.
I came to realize that I'm creating  something realistic but also something  that’s coming from the past, a touch of  life experience. Something existing but  also imagined. A memory or a dream and  reality or fiction. From childhood pictures  to unpleasant and even frightening  pictures, simple cardboard boxes with  beer crates or just a blowable yoga ball  with a binder. I integrate my work with  details of my life and with a touch of imagination. I’m  constantly doing research of researching  my work.

The inspiration comes partly because of  the many objects or trash in the streets;  a broken baby stroller, an office chair,  traffic signs, containers, etc. The ideas  that are going on in my head, change  everyday. I work with material from our  day-to-day life that I turn into an  industrial assemblage, an enigmatic and  interactive installation. I create a  construction, an accumulation of the  collected objects or an image with  personal details.
When I see an interesting object or  something I feel a connection to,  somewhere on the streets, I take it right away. In the  meantime, I think about what I want to  do with it. At these moments, I am very visual. I look at the objects and they have  the required properties; color, shape,  texture, etc. Sometimes I’m not going to  need that object in the end but most of  the time it does add value.

I keep on trying different setups and see  which objects connects well with each  other. By placing the right objects  together, it forms an intentional,  aesthetic quality. Each object or material  has its own power in my work. I combine  it with different elements; digital  elements like a tv screen or a Nintendo  screen within a video work. It’s layered  digital and analog. I'm not focussed on  just one medium or concept, I incorporate language, video and sound into my work. The little texts in my work  are often written wordplays or inspired  by quick edits.

I want the imagination of the viewer to  come organically. That’s why I make  something riddle and it will develop  curiosity, humor and absurdism.

Fanny Wellens -
In my artistic practice, I explore the beauty of everyday filth and the disgust it evokes. Disgust is an intense and often uncomfortable emotion deeply rooted in human nature. It is an instinctive reaction to something that deviates from our norms and values, something that threatens our sense of safety and health. By exploring and glorifying this disgust in my work, I aim to prompt viewers to reflect on their own 'filth' and their connotations with it.

Through ceramics, latex and candle wax, I depict the filth around me. My artistic process throughout the year has emerged from lucky accidents occurrences while experimenting with materials. Disgust was one of the few emotions I found challenging to comprehend, but it intrigued me precisely for that reason. I actively seek out filth in my life, which becomes my greatest source of inspiration in my artistic practice.

During my time working in a food factory, one of my tasks was cleaning larvae off food packages. These larvae were confined in boxes of 500 packages, incubating for weeks in an environment of 30 °C, lying in a thick layer of their own fluids and food remnants. I stood there numerous times and they had no effect on me as I never felt the urge to vomit due to their smell or sight. It intrigued me more than I could comprehend. This experience served as a catalyst for the formation of my sculptural design.

My work glorifies the everyday larvae, transforming them from mere larvae into functional objects. I chose larvae because they bear associations with disgust, such as food contamination, hygiene, lower-order creatures like pests, and symbols of death and decay.

I enhance the glorification of this filth through the use of color, material selection and the context in which I place my larvae. They evolve into ceramic sculptures that progressively resemble less of larvae and adopt everyday functions, transcending their role as dirty objects. Viewers shift their focus towards the glorification, forgetting the connotations of filth. The larvae are situated in an artificial world, surrounded by latex vomit and discarded exoskeletons.

My art invites a surprising reevaluation of disgust and offers a thought-provoking reflection on the intricate relationship between aversion and glorification in our human experience.

Ella Schöning - 

Ella Schöning’s work is a celebration of  the absurd and a powerful platform for  activism. With a keen fascination for the  quirky and bizarre aspects of life, she  embarks on a creative journey that melds  the absurd with poignant feminist  statements. Her artistic practice includes  video, sculptures, drawings, and  paintings, each medium serving as a  unique lens through which she explores her world.