CONTACT

^{TEL (+32) 472 41 86 22

INSTAGRAM

KUNST IN HUIS}

CV / EXHIBITIONS

^{2020-2022 Educative Master, LUCA school of arts, Brussels
2013-2014 Master Visual Arts, LUCA school of arts, Ghent
2010-2013 Bachelor Visual Arts, LUCA school of arts, Ghent}

P R E V I O U S L Y

^{2024 Assembled Patterns, Re-mento, The Green Corridor, Brussels, BE}

^{2023 A4 a Wall, groupexhibition, VROOM space, Brussels, BE}

^{2023 YELLOW BRICK, artistresidency, Athens, GR}

^{2023 TINA, This Is Not An Ashtray, vitrine, Ghent, BE}

^{2023 OPEN ATELIER, KUNSTWERKT, Brussels, BE}

^{2021 BUY LOCAL#2 zomersalon, KUNSTHAL, Gent, BE

2020 BOLTRA ,groupexhibition, Brussels, BE}^{2020 Where are the people, oline expo, Brussels, BE
2020 Truly Truly Design Studio’s, Rotterdam, NL

2019 Wassla, LE 18 , Marrakech, RA
2019 Artistresidency , LE18, Flemisch Government, Marrakesh, RA
2019 Continiuous Constructions, KUNST IN HUIS , Brussels, BE
2019 Groep expo, Groupexhibition, Perkamentstraat, Ghent, BE
2019 Groupexhibition, CC Zwanenberg, Heist-op-den-berg, BE

2018 3th price Abstract Painting, CCZwanenberg, BE
2018 YUGEN#16, YugenKombucha, Ghent, BE
2018 Naar het schijnt kan je bij jou binnen kijken, Antwerp, BE
2018 Taart in de brievenbus, Sint-Maria Horebeke,BE

2017 A size too short, Rossi Contemporary gallery, Brussels, BE
2017 AL YOU NEED IS A LAVATORY, Ghent, BE
2017 WERF, Ghent, BE
2017 HIV ontrafelen, veiling, S.M.A.K, Ghent, BE
2017 Strictly Rabbit, Ghent, BE

2016 De muren hebben ogen, Wieze, BE
2016 Kabinet#2, Ghent, BE
2016 2nd price PBK ,Harelbeke, BE
2016 Peinture, dessin, sculpture, Culturel Centrum, Marchin, BE

2015 Teer 51, Astene, Deinze, BE
2015 Fris XII, Ghent, BE
2015 TUMULT #03, CAMPO VICTORIA, Ghent, BE

2014 Abstract Boven, Quai des Arts, Ghent, BE
2014 EXPO 09, Ghent, BE}

A B O U T

The work of Evelyn Vanoverbeke positions itself both in visual art, architecture, and sound art. Already during her studies in painting, she sought out the limits of the discipline. Moving beyond two-dimensionality, she considers a painting rather as "a surface in which she approaches the edges". Painting becomes sculpture and vice versa. This playful ambiguity is also palpable in the objects she designs. Meandering between design and sculpture, Evelyn invites the user to engage in a close relationship with her objects. Although she is intrigued by utensils of which the shape is close to its functionality, her designs reveal a certain tension between form and function. Her work makes one wonder precisely because its use is not obvious from the first glance. It is rather in the activation of her forms that the function - or rather, the multiplicity of functions - becomes apparent. Strong is the way her objects encourage the user to have experiences. For instance, Evelyn does not consider a chair just a chair. Once you sit on it, you become aware of how vigorously her objects influence the perception of the spatiality around you. What seems obvious is not. This interweaving of play, fantasy, and amazement, not only surfaces during the activation of her work but can also be detected at the very beginning of her design process. Through turning, folding, manipulating, perforating, and assembling both existing and new materials, Evelyn creates designs with their own agency, their own force of action, their own will. The question whether to label her objects sculpture or architecture is then no longer relevant. What Evelyn puts into the world are objects that bring people of all ages together and trigger shared experiences.

Jolien Naeyaert, May 2024