VONK_ateliers offers working places for 25 visual artists in Hasselt and Genk. Divided over 3 buildings, artists can rent an atelier on a yearly basis. Applying for an atelier is possible through the yearly open call in May. VONK_ateliers also engages in specific trajectories with the selected artists to actively deepen and develop their artistic practice.
In my recent works, I move towards abstraction by trading the traditional support for a shaped panel. For some, the physical borders of the traditional canvas give more grip on what is going on within these borders. However, I tend to ask myself whether this kind of comfort gives me the challenge I need.
These predetermined edges makes me anxious about limitations, but at the same time, this almost unlimited physical freedom results in multiple visual restrictions.
My practice is largely shaped by the stylistic and technical side of making and how these can inform art and life. Fluctuating between painting, drawing, photography and sculpture, I structure the tensions that exist between modes of representation, materiality and technique.
Brecht Koelman is educated as a philosopher. It is only one step from the garden to the Garden, the Garden of Epicurus, this philosophical school that opened to both men and women in 306 BC, where Epicurus taught the way to attain ataraxia, this peace of mind that stems from moderation and harmony in existence, as a foundation for happiness. "The idea of a private garden is a recurring theme in my work," he explains. “I often paint in my own garden and did residences in isolated places, such as Isola Comacina or Vélez Blanco.
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Stemming from an initial documentary approach, Anton is concerned by the human condition and the impossibility of understanding fully, the difficulties of representing trauma, loss of the experience of place, and the act of commemoration. Using installation, abstracted and deconstructed photographic and visual representation, video and sound, his focus lies on investigating other ways of seeing, the limits of memory and remembrance, and the significance of viewer placement and subject-position.
The artistic research of Marnik Neven focuses on repetition and labor. Each works starts with the development of a work process. This work process slowly evolves through research and trial and error. This development can consist of unexpected results of the process (for example in the unintentional painting) but also further insights into the work. Because one work is spread over several years this process is part of the work.
Stevie Dix (1990, Genk) is a Belgian artist living and working in Antwerp.
She participated in the Turps Banana Correspondence course 2016/2017, tutored by artist Phil King. Her artistic practice is focused on painting using different meadia such oil por spray paint as to create gestural and spontaneous paintings.
At the age of 11 my family moved from Germany to Belgium. For me as a child this had a tremendous impact. Because it meant leaving the world as I knew it behind. It was the starting point of a quest that continues up to this day: what does it mean to be rooted, what is home? By building structures or settlements in abstract places I explore this theme. The latest technological developments resulting in a possible settlement on Mars triggered my imagination on what this could actually mean for mankind.
Painting, for me, has always been a very auto-biographical, emotionally charged and honest thing which, like the characters and symbolism in my paintings, I struggle to keep from teetering over the edge. Like the world we live in, at any point they can fall apart and topple upon themselves in a self-deprecating, awkward mess. Drawing heavy inspiration from music greats such as television, wire and the talking heads as well as many other punk and post punk poets, artists and writers.
Jorden Boulet is educated as a painter but works project-oriented .Both his work method and his artistic work itself can vary visually according to time, space and context: On the one hand, his artwork can take the form of playful and bombastic installations in which sand, wallpaper, inflatable ‘sculptures’ or other utensils are used. On the other hand, the saying ‘less is more’ may apply, in which for example, he shows a series of abstracted paintings in a tightly directed scenography. Yet his work is coherent because of the constant reference to the idea of paradise.
Steven Antonio Manes (1993, BE) Belgium based Italian visual artist.
Steven spontaneously conducts an in-depth investigation that reflects on the existence and value of man in a world that is fleeting and transient.
His Italian roots have a profound influence on his work. In the South of Italy, he was very inspired and attracted by every aspect of this landscape, but mainly the roughness and abstract shapes. The attraction to the landscape makes the work very grounded, earthly, and gives it character.
Kristof Vrancken lives and works in Hasselt (BE). His work has been published in national and international books and journals, and has been exhibited in Belgium and abroad.
As a way of dealing with the complex world of today, I sympathize with the expressive techniques of magical realism as the literary genre. Through the careful selection of media, I tend not to immediately disclose my works as such, but rather present them as the everyday phenomena that lay at their core.
If Serge Haelterman had lived a few centuries ago, he would have probably been an alchemist. He is vacillatingly in search of the forbidden or secret knowledge.
His objects and drawings invite us to join him on a quest that bears a certain resemblance to the successive stages of the alchemical process.
While reflecting on my work intense feelings of love and hate simultaneously alternate. Yet this comes as no surprise since these emotions always formed the main incentive in my work. It must arise in a spontaneous way to cause satisfaction. Therefore I tend to jump to the conclusion of creating as an essential part of life and mainly functioning as an escapism from the usual routine of natural order.
Öznur Özturk [Hasselt, 1989] lives and works in Genk. Öznur has shown her work in varied group exhibitions consisting of videos, photography, mixed media and text. She graduated in 2015 as a Master in Visual Arts / Photography from LUCA, School of Arts in Genk. That same year, she won the Wanatoe audience award and was selected for numerous exhibitions such as Europalia Turkey and the art festival in Ulbeek. Many publications, printed and online were devoted to her work.
Painting has become a second nature to Hilde Vanhees. ‘Not creating’ feels uncomfortable for this artist. Ever since she was a child she was constantly drawing, as a teenager she wanted to become a fashion designer, and for a long time she worked as an architect. But now in visual arts, she allows herself even greater freedom to play with colors, spatial design and composition. “Although I paint a lot, on a regular basis I create experimental works such as collages, 3D installations or I make paintings on various surfaces (e.g. cardboard, wood, textile…)."
Sonia Gasparini (1996, Cesena) studies and works between Bologna and Genk (Belgium).
Her production, a clear inheritance of some site-specific experiences, continuously questions what can be defined as an aesthetically gifted object, in this case a sculpture, and what can instead fall into the category of an object of use, of design, but often also of architecture. Furniture, accessories and dysfunctional architecture are thus created by the artist to short-circuit both poles in favour of an ever new tension. All this is characterised by a strong focus on the creation of dynamics and objects that are phenomenologically inhospitable and hospitable at the same time.
Indra Wouters is a visual artist creating installations that include sculptural elements, ceramics and metal structures.
In her practice she zooms in on industrial and technological processes and their infrastructures, ranging from mechanical elements to architectural design. Those artifacts stand in for a lesser-known world that is often forgotten – if not consciously rendered invisible- by the self-evident attitude of postindustrial lifestyles.
Her installations partially uncovers these hidden scenographies and recontextualizes the beauty and elegance of industrial aesthetics. Forms are liberated from their original utility to generate more universal forms, in which scale and material become the parameters to create new formal identities.