All four construct their works with great care, compelled to do so by the materials they use.
That results in precious objects that tell stories or open perspectives not just by how they look like externally, but also by the way they are made.
Craftsmanship in the sense of a careful dialogue with the physical material and the spiritual aspects it conveys, seems to be becoming the hallmark of works shown by Nono Gallery as it recently got a place of its own in town (alternating with SinArts Gallery).
Showing this kind of art is an invitation to viewers to take their time not just to reflect about the content of the works, but also about how they were made and thought out and in that way got their content.
Visitors may reflect about the actual monumentality of the otherwise small and nuanced collages by Van Den Heede, or about the deceitfulness of the materials in Fröse’s absurdist objects.
They may wonder about the use of the extremely lightweight Japanese tissue in Eßer’s works, almost weightless like the thoughts you carry while walking around in this world; or – almost the other way round – about the use of aquatint in Truyffaut’s works in which short and weightless observations of less than an instant seem to materialize as powerful abstract images.
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