by Edith Doove
2 000,00 € incl. VAT
These three pieces found each other through a shared language of blue in all its moods. What began as a loose conversation between colour and form slowly revealed a natural rhythm: a progression from grounded to tender, to expansive. Together, they create a quiet interval, a space to pause, look closer and feel how different energies can coexist in harmony.
– Clara van den Berg
These three pieces found each other through a shared language of blue in all its moods. What began as a loose conversation between colour and form slowly revealed a natural rhythm: a progression from grounded, to tender, to expansive. Together, they create a quiet interval, a space to pause, look closer and feel how different energies can coexist in harmony.
– Clara van den Berg
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.
“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.
Edith Doove, PhD, is a curator, art critic, writer and researcher based in Rouen, France, with nearly four decades of international experience. She began curating in Antwerp in 1987 and later served as director-curator of the MDD–Museum Dhondt-Dhaenens. Her career has included major interdisciplinary exhibitions, university teaching, and doctoral research into the curatorial as a creative act. She is currently a senior critic for Leonardo Reviews and a member of AICA France.
Edith’s practice is shaped by an interest in emergence, contingency and collaboration across disciplines. She places particular value on research, sustained dialogue with artists and the idea of curating as a form of care. Her approach remains open and exploratory, encouraging artists to consider what art can be, how it connects with other fields, and what it may mean for different people.
