Et moi je veux nager
2020
Installation
One time expo in Roeslare Belgium
This installation plays with perspective, confronting us with the way trauma and fear distort our perception of scale. Problems grow into towering structures, casting long shadows, while solutions seem fragile, minuscule, even unattainable. Sociologist and philosopher Judith Butler explores how vulnerability is not just an individual experience, but something deeply shaped by societal structures. According to Butler, healing is not a straightforward leap; it is a precarious balancing act between exposure and resilience, between falling and being caught.
What if the challenge is too big? What if the place where you're supposed to land doesn’t feel big enough? What if the structures meant to hold you are too small, too weak, or simply not where they should be?
Trauma reshapes time and space—it stretches distances, distorts perception, and makes the leap feel endless. The body hesitates, the mind calculates, and yet, the choice remains.
The jump is the risk. The pool is the hope. And in between lies the doubt.
Silenced by the Stream
2016
Installation Mixed media
One time expo in Roeslare Belgium
This installation consists of more than a hundred bottles, neatly arranged in rows, each containing a message. Among them hangs a buoy, similar to those used at sea. In the background, binary codes move continuously, representing the digital world.
The installation explores how the internet, despite its promise of connection, can actually cause communication to disappear. Just like a message in a bottle cast into the ocean, digital messages can get lost in an endless flow of data. The concept of being ‘lost at sea’ serves as a metaphor for how people can feel when searching for connection online.
The installation aligns with Jean Baudrillard’s ideas about how, in the digital world, the boundary between real and fake becomes blurred. The binary codes in the background symbolize this distortion of communication, where human messages are transformed into an endless stream of signs without clear meaning.
Does the internet create real connection, or are we just lost at sea?
La mer D’or
2018
Installation Mixed media
One time expo in Roeslare Belgium
(From the series Silenced by the Stream)
La mer d’or is inspired by the philosophy of Arthur Schopenhauer and is part of the series Silenced by the Stream. This work explores the dynamic between natural forces and human constructs, focusing on the tension between the vastness of the sea and the value of gold.
Throughout history, the oceans have played a crucial role in the development of life on Earth. They represent a force greater than humanity—boundless and elusive. Gold, on the other hand, is a rare metal that has profoundly shaped financial systems. It is associated with power, status, and abundance, but also with greed and inequality.
In this work, these contrasts—the immense and the finite, the natural and the man-made—are brought into dialogue. A buoy at sea traditionally serves as a warning, a beacon of safety. Here, however, it takes on an ambiguous role: it raises questions about the impact of financial systems on society and whether these systems guide us or serve as warnings for what lies ahead.
With La mer d’or, the artist invites the viewer to reflect on the relationship between material value and the vastness of nature, and on how we, as a society, assign meaning to both.
I made a castle
2014
Installation wooden structure with plastic wrapping
One time expo in Roeslare Belgium STKN/RSL
Amidst the urban landscape, an impressive wooden structure rises, like a fantasy world captured within reality. The construction, three stories high and towering at least five meters into the air, is shaped like a castle—a place of mystery and stories. Its hollow wooden walls exude a raw craftsmanship, while the entire structure is wrapped tightly in a layer of plastic, like a second skin.
Inside, an intense pink light glows, weaving its way through the semi-transparent layers of the enclosure. The light transforms the installation into a living organism, a breathing monument of color and shadow. The pink radiates warmth and mystery, giving the castle an almost ethereal presence—like a dream on the verge of becoming reality or slowly fading away.
The viewer is invited not just to look but to feel—the contrasts between the natural wooden core and the artificial plastic shell, between the massive structure and the translucent illusion.
