/ Silent Geometry

Silent Geometry

by Diana Hyslop, Katja Felle, Lisa Pettibone, Tommaso Fattovich, Wim Legrand

980,00 

A minimalist geometric artwork inspired by modern architecture. Perfect for luxury interiors and contemporary gallery collections.

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ABOUT ARTIST

Wim Legrand

Wim Legrand’s (b. 1978) work offers a playful take on the paradoxical strangeness of everyday reality, while commenting on our postmodern condition as victims to the barrage of information and news feeds. Mundane and forgettable objects usher the familiar into peculiar allegorical narratives, where past blurs with present and fact with fiction – setting scenes in a liminal zone, in the unfettered “now” of a dream, meanings just out of reach and continually open to interpretation. He combines painting with drawing, cartoons and pop culture with aesthetic references to North European history painting and Surrealist traditions – the post-modern world overlaid onto the art historical atmosphere in which he was raised. To date, Legrand has held solo shows in Belgium and South Africa and has participated in numerous group exhibitions across the globe. His most recent accolades include a group exhibition in Shanghai, various Art Fairs and his first  solo in The Netherlands.

More From This Exhibition

Diana Hyslop

In From Above, Diana brings human figures, cats, leopard markings, repeated eyes and protective presences into a composition that seems to occupy several pictorial planes at once. Like a storyboard, the painting offers fragments of a narrative without telling us precisely how they fit together. The eye moves continually between its characters and symbols, discovering relationships that remain open to interpretation—and may shift each time we return to the work.

Tommaso Fattovich

Osteria II is built through layers of addition and removal, beginning with an older oil painting partially covered in white acrylic. Tommaso then draws the figure in pencil, lifts sections of the acrylic with industrial tape to reveal the earlier painting beneath, and adds further oil paint to soften and disrupt the boundaries between figure and background. The result is a compressed, unstable space in which the seated figure feels both present and partially dissolved, hovering between observation and memory.

Lisa Pettibone

Folded glass held in tension by string, as though the material is being pulled toward collapse. The fold has already taken shape through the glass's own process — the string calls attention to that pressure rather than causing it. A quiet study in restraint and resistance.

Lisa Pettibone

Glass forms rise from the surface as if pressing through from beneath, shaped by the memory of heat and pressure. A fluorescent yellow backing casts a reflected glow, giving the colour a felt, atmospheric presence. The work shifts with the viewer's position — light and shadow revealing new depths as one moves around it.

Diana Hyslop

Watching began as a portrait of a woman in Diana’s studio, but the face has been fragmented and rearranged into something closer to a painted collage. Its cut-out-like forms recall magazine imagery, Dada composition and Cubist portraiture, while the flashes of red in the lips and nails lend the figure a character that feels at once coy and slightly cruel. There is also something intriguingly self-directed in the gesture—as though the subject is absorbed in the act of watching herself.

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