Second Sight pays tribute to the invisible that surrounds us. The artists in the exhibition share the same sensibility for the hidden; ranging from a fraction of time, an incidence of light or a gesture, to psychological constructions and political structures. In their practice, perception, both visual and mental, plays a prominent role. With pared-down artistic gestures and a delicate language of form, they present work that is self-aware and layered in content. This exhibition compels stillness: a revisiting as an urgent reflection on the present.
Nienke Baeckelandt (b. 1989, Ostend, based in Antwerp) seeks the field of tension between intuition and control. Her works are always the result of "concentrations" or "intensities" of a snapshot. Site-specific installations and sculptures subtly play with the viewer's perception. She draws attention to hidden colours, objects or concepts. Areas of colour visible only from a specific point of view, fused transparent objects and light-coloured shadows. Current media encourage that images should be consumed at a glance. Baeckelandt 's images, on the other hand, offer resistance.
Ariane Loze (b. 1988, Brussels, based in Brussels) researches the coming to life of a story out of seemingly unrelated images with her camera. In this series of videos, she takes on all roles; she is at once the actress, the camerawoman, and the director. Through the editing of the images, she develops a relationship between two (or more) characters and the architecture. The videos put the spectator in the active role of creating his/her own story out of the basic principles of film editing: shot and counter-shot, the presumed continuity of movement, and the psychological suggestion of a narrative.
Lore Stessel (°1987, Leuven, based in Brussels) explores the interface between photography and painting. In this process, there is room for 'the accidental' and the unforeseen through which the developmental process takes the pictorial image towards abstraction. Not only in the working method, but also as subject matter, the physical and the corporeal occupy an important position. The search for the human or animal body, and the corresponding tension with the environment, is a recurring motif in her practice. For Stessel, movement is the key to this riddle, but in the small gestures, the minute shifts of feeling contained in each movement.
The work of Hilde Borgermans (°1985, Maastricht, Netherlands, based in Ghent) revolves around perception. Through depth perception, (self)reflections, suggestions and interpretations, the artist builds her idiosyncratic universe. Her paintings and sculptural works mostly contain references to architecture. The interplay of lines explores modernist and minimalist traditions, but is equally reminiscent of the traditional loam and half-timbered house where she grew up. Borgermans naturally blends opposites such as the flat and the spatial, the real and the imagined, the literal and the figurative, the frivolous and the political. Extremes are reconciled, creating new, special meanings.
The work of Nadia Guerroui (b. 1988, Toulouse, France, based in Brussels) is a constant oscillation between multiplicity and emptiness. The artist herself has a background in textiles and her work could be described as an investigation into the transformation of material under the influence of light, nature, and time. The simplicity of form in her work itself becomes an aesthetic quality, and some pieces could be called reflexive or self-referential. The choice of ephemeral, natural, and affordable materials is no accident. Guerroui possesses the ability to use her practice to create an atmosphere of intimacy with the viewer.