Built in 1928 by Victor Bourgeois for his sculptor friend Oscar Jespers, the workshop operated until Oscar’s death in 1970.
At the end of the 1920s, this space, which occupies over 400 m2, was a prime meeting place for Europe’s artistic avant-garde.
by Conrad Willems
Modular Sculptures is a solo exhibition of sculptural work by Conrad Willems dealing with modularity.
The works consist of components that can be separated and recombined, built up and broken down - exploring building materials and the language of construction.
25/05 from 14:00 to 22:00
26/05 from 13:00 to 18:00
27/05 from 13:00 to 18:00
From 28/05 to 15/07 by appointment only
Thoughts on my work.
Concept work/artistic activity
My art practice shifts between sculpting, drawing and performance. Their origin is found in my interest in construction, deconstruction and architecture, often tracing back to the basic shapes of wooden toy building sets. Body movement functions as an intermediate between my two and three-dimensional works.
My sculptures are constructed rather than sculpted in the classical sense of the word. I work with freestanding pieces that are stacked on top of each other, remaining unfixed to each other. These modular installations are often constructed for a live audience. The building process thus becomes a performance, the resulting construction an installation work.
My drawings show the repetition of figures, varying in shapes and sizes. They are made with freehand and without a predetermined plan: every drawn line is a permanent one. This method of freehand repetition generates patterns, disturbed by imperfections in the repetition process. These patterns become more and more flawed and ultimately each shape is a new shape. My latest drawings have several layers over each other, blurring recognisable shapes by adding new ones.
Projects and goals / 2017
A unique feature of human behaviour and a critical part of our social and cognitive abilities is based on playing. Playing is self-chosen, self-directed and intrinsically motivated, placing means over ends. It influences more than we think: it allows a child to develop a sense of agency over their environment and has a profound effect on their outlook as citizens.
Frank Lloyd Wright once said his childhood set of Maplewood building blocks were “still in his fingers” when he was 88 years old. The way we play and the tools we have to do so can influence us throughout our lives and careers.
Since the beginning of this year I am trying to theoretically strengthen what I have been doing as an artist in the last couple of years. My goal is to further strengthen body movement and play into my art practice.
Since a couple of years I have been working hard to professionalize my art practice and I believe that it is important for an artist to keep evolving. If the circumstances stay the same, there can be no further evolution. But change the circumstances and you can kick-start evolution.
I believe it is an artist's responsibility to challenge and change the circumstances around him, forcing himself to evolve and progress in his art. Any exchange - be it an exchange of ideas, locations, or even countries - is doing just that: forcing us to view things differently, to adapt, and to move forward.
In my own artistic practice, I've often felt the changing power of new environments. The drawings I make started out as geometric and highly abstracted urban landscapes. Over the course of a couple of years, these cityscapes evolved into much more complex, multi-layered drawings looking less and less like cities but in their complexity still evoke the feel of urbanism and architecture.
© Atelier Jespers - Erfprinslaan 149 Avenue du Prince Héritier - Brussel 1200 Bruxelles
Contact : Jean-Francois Declercq +32 475 64 95 81- Elsa Sarfati +33 6 10 84 27 48 - email@example.com