Urban Fragments

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Urban Fragments

by Katja Felle, Lisa Pettibone, Sonia Martins Mateus, Tarik Chebl, Tommaso Fattovich, Wim Legrand

1,15 €

A contemporary city-inspired artwork reflecting the beauty of modern urban landscapes through abstract forms.

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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

Tommaso Fattovich

Osteria II

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

Contraction

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

Emerge 1

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.

Sonia Martins Mateus

Plastic Birds Wall

Sonia Martins Mateus’ Plastic Birds is made through painting bleach on black linen, where the image is revealed by removing, biting into, and transforming the surface rather than adding colour to it. The work holds a compressed, frontal space. Pale ochre forms rise out of the dark ground, while looping, wire-like marks and a dense horizontal structure create a feeling of blockage or containment. The black remains active throughout the image, so that even the areas of light seem to carry shadow beneath them. Across Martins Mateus’ practice, landscape is not only a place to look into, but a structure shaped by memory, territory, displacement, and material force. In Plastic Birds, that question becomes direct: the painting offers an image, but also resists entry.

Tarik Chebl

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Midnight Horizon

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