Timo Correwyn (b. 2000, BE) is a Brussels-based multimedia artist with an elemental focus on photography. His practice involves making images in 3D software, downloading photos from the internet or buying them at flea markets. By combining all forms of image-making processes that in some way respect a traditional photographic procedure, he turns his photographic practice into an all-embracing one.
    Timo is interested in topics like ecology and technology, but more so how their interaction can be seen as emblematic for a nature-culture continuum. In his series ‘Fossils for A Ceremony’ (2022) Timo has been working with images of fossils. These function as input for multiple technological transformations that, in a speculative attempt, resemble processes of biological evolution. The motif of a fossil, he argues, also bears analogies with photography itself: both a photograph and a fossil combine past and present into one visual experience.

Timo e-mailed us with a link to a YouTube video, accompanied by the following words: “I made a discovery yesterday; the species of the creature depicted in the work — which I thought went extinct 200 million years ago — is still alive today!”

Barbara Leclercq’s (b. 1997, FR) sculptural work tries to think at the same time a question of foundation and the question of collapse. Her practice embraces the idea that ‘the ruin’ is a fertile ground, and that by reconfiguring it, rearranging it, one can proliferate alternative versions of creation. The outcome of these speculations are strange, enigmatic, disjointed plural landscapes of which Barabara says she is “the double experience of both the narrator and the architect of – in that, giving to see an architecture in effusion, but also giving to anyone the keys of a possible rewriting.”

Tristan Gac (b. 1990, FR) lives and works in Brussels. His work attempts to deliver a sentimental and lyrical exploration mainly through drawing but also through sculpture. Tristan’s coloured-pencil drawings “4EVER ALONE”, “4RAVER ALONE” and “4EVER ALL ONE” imbue artefacts of popular culture with profound lyrical sentiments. His drawings flirt with ambivalent visual and emotional registers; although steadily emerging through a delicate, long and precise drawing process, the images harbour high levels of vitality through the intense flashes of violence and melancholy they depict. As Tristan's works seeks to define a vision of the future; a fantasised and dreamlike speculation of temporary ideals, they above all reproduce the emotions that collide at the crossroad of rave culture and contemporary Romanticism. When dreamlike contemplation evaporates with the endings of nights; when temporary ideals fade into desert landscapes; when the inescapable gloom permeates the ruins of a party and idealistic visions of the future dissolve at dawn.

Jonas Dehnen (DE) makes paintings, drawings and occasionally sculptures. His work emerges out of a prolonged process of layering, erasure, and the repurposing of underlying image fragments. The 18th century phenomenon of ornamental hermits and imagery mined from the wider romantic tradition often serve as a spark of initiation. They also deputise as an allegory for the often fraught (and sometimes absurd) situation of a young artist. The practice may be regarded as the gradual assembly of an inventory of characters and meanings within a personal visual idiolect. Jonas also brings together disparate visual elements from the communities that he grew up amongst. This process takes place in the entanglement between the physical material of a painting and the image within it. Thinking and doing collapse into one another to become a singular mode of being in the world. The works are maps of themselves, map and territory both, thought-maps looping back into themselves in an infinite regression. They make a sport of navel-gazing, knowing (or is it hoping?) that as long as we all have navels we can all relate.