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Vertical environnement
François Winants
27 Rue de la Casquette
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Censorship
Bram Van Meervelde
44 Rue Saint-Gilles
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The Poetics of Space
Ariane Toussaint
29 Rue de l'Université
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PRIVACY’S ARCHEOLOGY
Niels-Jan Tavernier
Place de la République Française, 23
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Braced under the heating sun
Melissa Ryke
5 Rue Chéravoie
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Modèles réels, arrangements accidentels
Griet Moors
14 Rue de la Sirène
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Lion #15 (Melancholy Baby)
Daisy Madden-Wells
100 Rue Saint-Gilles
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VOUS ÊTES ICI
Les Rayons
Interventions visibles sur des vitres de voiture
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In exile
Guda Koster
1 En Féronstrée
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Icing
Sanne Kabalt
Rue Matrognard, 2
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Un paysage inconnu mais familier
Dayoung Jeong
5 Place des Déportés
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URBAN RHYTHMS
Marjolein Guldentops
129 Rue Saint-Gilles
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À propos
Johan Gelper
41 Passage Lemonnier
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Support Vitrine
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11 Rue de Bex
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La dernière pluie
Julia Gault
9 Passage Lemonnier
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CAMO
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25 Rue Saint Paul
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STATIONS
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50 En Féronstrée
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Zoning gris, glaner la ville, vivre le bois
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31B Rue de la Cathédrale
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Trophée
Estelle Deschamp
137 En Féronstrée
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Debt Ceiling
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4 Rue de la Cathédrale
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LOG 1 : SAUVE-GARDES
Paul Cottet
15 Rue Saint-Gilles
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Pluie N20, depuis la terre…
Collectif Nuiits Delphine Dubois and Juliane Lavis
Hôtel de la Cour de Londres 40 Rue Hors-Château
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SANS TITRE
Olivier Bovy
85 Rue de la Cathédrale
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a l é a s
Jérôme Bouchard
31A Rue de la Cathédrale
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Please like me #1
Margaux Blanchart
6 Rue Saint-Adalbert
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antizenithale
Marc Angeli and Ronald Dagonnier
16 Rue du Palais

Modèles réels, arrangements accidentels
#9
Griet Moors
Curator: Marie-Claire Krell
21814 Rue de la Sirène
Griet Moors approaches art as an architect, constructing paintings and prints into situational settings that play with our outlook on the world. Her interest stems from the fact that our gaze cannot be limited to just one object, it is guided through the world by our motion and is given direction from who we are. For Moors, our gaze, not the canvas or pedestal, is the bearer of the image, as it taps into numerous conscious and unconscious impressions and experiences.
In her artistic research, she analyses this pictorial mobility, trying to get hold of that ever changing point of view, that is already inherent to the physical approach of a body moving towards an artwork. Therefore her acrylic paintings, digital scans and prints on paper do not stand alone, on the contrary, they open the view on the space surrounding them, the street, corners and architecture.
Her temporary arrangements of abstract images and spatial elements give insight into an interdimensional network of colors, lines, forms, directions, light and space. As we pass by and through time, our gaze spreads into not just simultaneous but time-delayed perceptions of the world around us. Memories superimpose our dynamic perception of spaces, places and things, as their visual impressions become memories themselves. Moors is interested in translating these multidimensional experiences, looking for the spatial convergence of flat images throughout time, trying to get a grip of its perspective just at its tipping point.