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raison puis saisons, sculpture, 2022
dahabiyy curat. by @vie__eau , in which i participated in late november at @3537org
📸 : @persephn

I was able to show a piece that I had never exhibited before because of the fire...
raison puis saisons is a sculpture made with ice "hot and cold" through several properties, especially thermal. the stone heats thanks to the fire and reverses things. The "cold" ice melts and the "hot" ice crystallizes containing a part of a printed image.

raison puis saisons, sculpture, 2022
dahabiyy curat. by @vie__eau , in which i participated in late november at @3537org
📸 : @persephn

I was able to show a piece that I had never exhibited before because of the fire...
raison puis saisons is a sculpture made with ice "hot and cold" through several properties, especially thermal. the stone heats thanks to the fire and reverses things. The "cold" ice melts and the "hot" ice crystallizes containing a part of a printed image.

raison puis saisons, sculpture, 2022
dahabiyy curat. by @vie__eau , in which i participated in late november at @3537org
📸 : @persephn

I was able to show a piece that I had never exhibited before because of the fire...
raison puis saisons is a sculpture made with ice "hot and cold" through several properties, especially thermal. the stone heats thanks to the fire and reverses things. The "cold" ice melts and the "hot" ice crystallizes containing a part of a printed image.

raison puis saisons, sculpture, 2022
dahabiyy curat. by @vie__eau , in which i participated in late november at @3537org
📸 : @persephn

I was able to show a piece that I had never exhibited before because of the fire...
raison puis saisons is a sculpture made with ice "hot and cold" through several properties, especially thermal. the stone heats thanks to the fire and reverses things. The "cold" ice melts and the "hot" ice crystallizes containing a part of a printed image.

des crocodiles couverts de gemmes, pièces sonores, 2021

serpentine, calcaire, béton, résine, glace chaude, sel, algues, bois, speaker

des crocodiles couverts de gemmes, pièces sonores, 2021

serpentine, calcaire, béton, résine, glace chaude, sel, algues, bois, speaker

des crocodiles couverts de gemmes, pièces sonores, 2021

serpentine, calcaire, béton, résine, glace chaude, sel, algues, bois, speaker

des crocodiles couverts de gemmes, pièces sonores, 2021

serpentine, calcaire, béton, résine, glace chaude, sel, algues, bois, speaker

Le régulateur de larmes, installation, 2024

"Bringing together works by Soraya Abdelhouaret and Shervin/e Sheikh Rezaei, Crying could be a solvent seeks to explore the notion of waiting in relation to the practice of alchemy. With their distinct visual languages, both artists draw connections between material transformation and ideas of devotion and love. The space of Het Paviljoen becomes a vessel for dialogue on interpersonal love and the love of the material. Taking its title from Gabriel Gauthier’s poem, Crying could be a solvent explores longing, and the internal processes that occur within.

The laboratory, derived from the Latin words “labor” (work) and “ora” (prayer), lies at the heart of the alchemical practice. It is a space where practitioners transform unusual materials into new states. Here, love becomes the “prima materia” from which the transformation begins. Both of the artists, engaging in a subtle conversation, invite us to rethink how emotions take shape through transmutation and decay. Glass becomes a central element in their correspondence. Abdelhouaret uses glass to collect and fuse wine, symbolising tears, transforming it through chemical processes into something new, while Sheikh Rezaei alters the transparency of window glass, incorporating a drawing that evokes the ecstasy of the amorous and the communion with the divine. The transformation of wine, a symbol of indulgence, devotion, and love, produces connections between biological decay and metaphorical shifts. At the centre of the exhibition space, in Sheikh Rezaei’s work, the invitation “Please, serve yourself” is both an offering and a farewell."

Curated by @curatorial_studies_kask & big thanx to @lp00ze @yas.veg4s @temitayolalekan @dchrts @jeanwatt @natalija.gucheva ☆.。.:*・°

Le régulateur de larmes, installation, 2024

"Bringing together works by Soraya Abdelhouaret and Shervin/e Sheikh Rezaei, Crying could be a solvent seeks to explore the notion of waiting in relation to the practice of alchemy. With their distinct visual languages, both artists draw connections between material transformation and ideas of devotion and love. The space of Het Paviljoen becomes a vessel for dialogue on interpersonal love and the love of the material. Taking its title from Gabriel Gauthier’s poem, Crying could be a solvent explores longing, and the internal processes that occur within.

The laboratory, derived from the Latin words “labor” (work) and “ora” (prayer), lies at the heart of the alchemical practice. It is a space where practitioners transform unusual materials into new states. Here, love becomes the “prima materia” from which the transformation begins. Both of the artists, engaging in a subtle conversation, invite us to rethink how emotions take shape through transmutation and decay. Glass becomes a central element in their correspondence. Abdelhouaret uses glass to collect and fuse wine, symbolising tears, transforming it through chemical processes into something new, while Sheikh Rezaei alters the transparency of window glass, incorporating a drawing that evokes the ecstasy of the amorous and the communion with the divine. The transformation of wine, a symbol of indulgence, devotion, and love, produces connections between biological decay and metaphorical shifts. At the centre of the exhibition space, in Sheikh Rezaei’s work, the invitation “Please, serve yourself” is both an offering and a farewell."

Curated by @curatorial_studies_kask & big thanx to @lp00ze @yas.veg4s @temitayolalekan @dchrts @jeanwatt @natalija.gucheva ☆.。.:*・°

Le régulateur de larmes, installation, 2024

"Bringing together works by Soraya Abdelhouaret and Shervin/e Sheikh Rezaei, Crying could be a solvent seeks to explore the notion of waiting in relation to the practice of alchemy. With their distinct visual languages, both artists draw connections between material transformation and ideas of devotion and love. The space of Het Paviljoen becomes a vessel for dialogue on interpersonal love and the love of the material. Taking its title from Gabriel Gauthier’s poem, Crying could be a solvent explores longing, and the internal processes that occur within.

The laboratory, derived from the Latin words “labor” (work) and “ora” (prayer), lies at the heart of the alchemical practice. It is a space where practitioners transform unusual materials into new states. Here, love becomes the “prima materia” from which the transformation begins. Both of the artists, engaging in a subtle conversation, invite us to rethink how emotions take shape through transmutation and decay. Glass becomes a central element in their correspondence. Abdelhouaret uses glass to collect and fuse wine, symbolising tears, transforming it through chemical processes into something new, while Sheikh Rezaei alters the transparency of window glass, incorporating a drawing that evokes the ecstasy of the amorous and the communion with the divine. The transformation of wine, a symbol of indulgence, devotion, and love, produces connections between biological decay and metaphorical shifts. At the centre of the exhibition space, in Sheikh Rezaei’s work, the invitation “Please, serve yourself” is both an offering and a farewell."

Curated by @curatorial_studies_kask & big thanx to @lp00ze @yas.veg4s @temitayolalekan @dchrts @jeanwatt @natalija.gucheva ☆.。.:*・°

Le régulateur de larmes, installation, 2024

"Bringing together works by Soraya Abdelhouaret and Shervin/e Sheikh Rezaei, Crying could be a solvent seeks to explore the notion of waiting in relation to the practice of alchemy. With their distinct visual languages, both artists draw connections between material transformation and ideas of devotion and love. The space of Het Paviljoen becomes a vessel for dialogue on interpersonal love and the love of the material. Taking its title from Gabriel Gauthier’s poem, Crying could be a solvent explores longing, and the internal processes that occur within.

The laboratory, derived from the Latin words “labor” (work) and “ora” (prayer), lies at the heart of the alchemical practice. It is a space where practitioners transform unusual materials into new states. Here, love becomes the “prima materia” from which the transformation begins. Both of the artists, engaging in a subtle conversation, invite us to rethink how emotions take shape through transmutation and decay. Glass becomes a central element in their correspondence. Abdelhouaret uses glass to collect and fuse wine, symbolising tears, transforming it through chemical processes into something new, while Sheikh Rezaei alters the transparency of window glass, incorporating a drawing that evokes the ecstasy of the amorous and the communion with the divine. The transformation of wine, a symbol of indulgence, devotion, and love, produces connections between biological decay and metaphorical shifts. At the centre of the exhibition space, in Sheikh Rezaei’s work, the invitation “Please, serve yourself” is both an offering and a farewell."

Curated by @curatorial_studies_kask & big thanx to @lp00ze @yas.veg4s @temitayolalekan @dchrts @jeanwatt @natalija.gucheva ☆.。.:*・°

Le régulateur de larmes, installation, 2024

"Bringing together works by Soraya Abdelhouaret and Shervin/e Sheikh Rezaei, Crying could be a solvent seeks to explore the notion of waiting in relation to the practice of alchemy. With their distinct visual languages, both artists draw connections between material transformation and ideas of devotion and love. The space of Het Paviljoen becomes a vessel for dialogue on interpersonal love and the love of the material. Taking its title from Gabriel Gauthier’s poem, Crying could be a solvent explores longing, and the internal processes that occur within.

The laboratory, derived from the Latin words “labor” (work) and “ora” (prayer), lies at the heart of the alchemical practice. It is a space where practitioners transform unusual materials into new states. Here, love becomes the “prima materia” from which the transformation begins. Both of the artists, engaging in a subtle conversation, invite us to rethink how emotions take shape through transmutation and decay. Glass becomes a central element in their correspondence. Abdelhouaret uses glass to collect and fuse wine, symbolising tears, transforming it through chemical processes into something new, while Sheikh Rezaei alters the transparency of window glass, incorporating a drawing that evokes the ecstasy of the amorous and the communion with the divine. The transformation of wine, a symbol of indulgence, devotion, and love, produces connections between biological decay and metaphorical shifts. At the centre of the exhibition space, in Sheikh Rezaei’s work, the invitation “Please, serve yourself” is both an offering and a farewell."

Curated by @curatorial_studies_kask & big thanx to @lp00ze @yas.veg4s @temitayolalekan @dchrts @jeanwatt @natalija.gucheva ☆.。.:*・°

💧 Next Thursday 6th March at 6 pm, we invite you to join us for the opening of 𝑪𝒓𝒚𝒊𝒏𝒈 𝒄𝒐𝒖𝒍𝒅 𝒃𝒆 𝒂 𝒔𝒐𝒍𝒗𝒆𝒏𝒕, a duo exhibition of Shervin/e Sheikh Rezaei and Soraya Abdelhouaret.

As the second part of the 𝑬𝒚𝒆 𝒃𝒆𝒄𝒐𝒎𝒆𝒔 𝒘𝒂𝒕𝒆𝒓 programme, the exhibition seeks to explore waiting in relation to the practice of alchemy. Both artists, with their distinct visual languages, draw connections between material transformation and ideas of devotion and love. The exhibition space thus becomes a vessel where the objects are caught up in moments of transmutation, symbolic of the experience of longing.

Soraya Abdelhouaret @endorphxne (b.1998) lives and works between Paris and Brussels. She is a graduate of the Beaux-arts du Nord and the Beaux-arts de Paris. Her work is directly linked to the question of temporality, and her pieces almost always have a self-destructive or even corrosive dimension. Using low-cost scientific experiments, the artist sets up a bi-reality between mineral materials and disparate materials.

Shervin/e Sheikh Rezaei @shervinsheikhrezaei (b.1994, Belgium/Iran) lives and works in Brussels. In her multimedia practice she explores the contrast between the fluidity and invasiveness of nature/humanity and the controlled and impersonal language of technology. An attraction to the irrational and emotional, took her from architecture to the autonomous visual arts.

Shervin/e Sheikh Rezaei and Soraya Abdelhouaret I 𝑪𝒓𝒚𝒊𝒏𝒈 𝒄𝒐𝒖𝒍𝒅 𝒃𝒆 𝒂 𝒔𝒐𝒍𝒗𝒆𝒏𝒕
📍Het Paviljoen (@hetpaviljoen)
Louis Pasteurlaan 2, 9000 Ghent

Curators: Daphné Charitos, Natalija Gucheva, Abel Hartooni, Yasemin Köker, Temitayo Olalekan and Jean Watt

Graphic design by Hana Kiani (@hanaxkiani)

💧 Next Thursday 6th March at 6 pm, we invite you to join us for the opening of 𝑪𝒓𝒚𝒊𝒏𝒈 𝒄𝒐𝒖𝒍𝒅 𝒃𝒆 𝒂 𝒔𝒐𝒍𝒗𝒆𝒏𝒕, a duo exhibition of Shervin/e Sheikh Rezaei and Soraya Abdelhouaret.

As the second part of the 𝑬𝒚𝒆 𝒃𝒆𝒄𝒐𝒎𝒆𝒔 𝒘𝒂𝒕𝒆𝒓 programme, the exhibition seeks to explore waiting in relation to the practice of alchemy. Both artists, with their distinct visual languages, draw connections between material transformation and ideas of devotion and love. The exhibition space thus becomes a vessel where the objects are caught up in moments of transmutation, symbolic of the experience of longing.

Soraya Abdelhouaret @endorphxne (b.1998) lives and works between Paris and Brussels. She is a graduate of the Beaux-arts du Nord and the Beaux-arts de Paris. Her work is directly linked to the question of temporality, and her pieces almost always have a self-destructive or even corrosive dimension. Using low-cost scientific experiments, the artist sets up a bi-reality between mineral materials and disparate materials.

Shervin/e Sheikh Rezaei @shervinsheikhrezaei (b.1994, Belgium/Iran) lives and works in Brussels. In her multimedia practice she explores the contrast between the fluidity and invasiveness of nature/humanity and the controlled and impersonal language of technology. An attraction to the irrational and emotional, took her from architecture to the autonomous visual arts.

Shervin/e Sheikh Rezaei and Soraya Abdelhouaret I 𝑪𝒓𝒚𝒊𝒏𝒈 𝒄𝒐𝒖𝒍𝒅 𝒃𝒆 𝒂 𝒔𝒐𝒍𝒗𝒆𝒏𝒕
📍Het Paviljoen (@hetpaviljoen)
Louis Pasteurlaan 2, 9000 Ghent

Curators: Daphné Charitos, Natalija Gucheva, Abel Hartooni, Yasemin Köker, Temitayo Olalekan and Jean Watt

Graphic design by Hana Kiani (@hanaxkiani)

Braaains curat. par Eva, @goton_got, @aodhanmadden & @mimosaechard
☆.。

Braaains curat. par Eva, @goton_got, @aodhanmadden & @mimosaechard
☆.。

Braaains curat. par Eva, @goton_got, @aodhanmadden & @mimosaechard
☆.。

Braaains curat. par Eva, @goton_got, @aodhanmadden & @mimosaechard
☆.。

Braaains curat. par Eva, @goton_got, @aodhanmadden & @mimosaechard
☆.。

Braaains curat. par Eva, @goton_got, @aodhanmadden & @mimosaechard
☆.。

le régulateur de larmes, installation, 2024
50x120x25cm
cire, piment, acier, verre

par un procédé d’extraction, l’installation isole la capsaïcine, l’essence pure du piment. concentrée, cette molécule agit sur les mêmes neurotransmetteurs que l’endorphine, l'hormone du bonheur.

📷 @spirituniv

le régulateur de larmes, installation, 2024
50x120x25cm
cire, piment, acier, verre

par un procédé d’extraction, l’installation isole la capsaïcine, l’essence pure du piment. concentrée, cette molécule agit sur les mêmes neurotransmetteurs que l’endorphine, l'hormone du bonheur.

📷 @spirituniv

le régulateur de larmes, installation, 2024
50x120x25cm
cire, piment, acier, verre

par un procédé d’extraction, l’installation isole la capsaïcine, l’essence pure du piment. concentrée, cette molécule agit sur les mêmes neurotransmetteurs que l’endorphine, l'hormone du bonheur.

📷 @spirituniv

le régulateur de larmes, installation, 2024
50x120x25cm
cire, piment, acier, verre

par un procédé d’extraction, l’installation isole la capsaïcine, l’essence pure du piment. concentrée, cette molécule agit sur les mêmes neurotransmetteurs que l’endorphine, l'hormone du bonheur.

📷 @spirituniv

le régulateur de larmes, installation, 2024
50x120x25cm
cire, piment, acier, verre

par un procédé d’extraction, l’installation isole la capsaïcine, l’essence pure du piment. concentrée, cette molécule agit sur les mêmes neurotransmetteurs que l’endorphine, l'hormone du bonheur.

📷 @spirituniv

le régulateur de larmes, installation, 2024
50x120x25cm
cire, piment, acier, verre

par un procédé d’extraction, l’installation isole la capsaïcine, l’essence pure du piment. concentrée, cette molécule agit sur les mêmes neurotransmetteurs que l’endorphine, l'hormone du bonheur.

📷 @spirituniv

le régulateur de larmes, installation, 2024
50x120x25cm
cire, piment, acier, verre

par un procédé d’extraction, l’installation isole la capsaïcine, l’essence pure du piment. concentrée, cette molécule agit sur les mêmes neurotransmetteurs que l’endorphine, l'hormone du bonheur.

📷 @spirituniv

the physiologic way to loose your balance in your nervous system, 2024

"I don't have the heart (james ingram) to (totenmesse) be here now (oasis) all i have (jennifer lopez) iz (efgan shabo) a (t e l e p a t hテレパシー能力者 ) book of amulets (Dj coutz) en pierre (abel31)"

@atelierechard

📷 queen @spirituniv

the physiologic way to loose your balance in your nervous system, 2024

"I don't have the heart (james ingram) to (totenmesse) be here now (oasis) all i have (jennifer lopez) iz (efgan shabo) a (t e l e p a t hテレパシー能力者 ) book of amulets (Dj coutz) en pierre (abel31)"

@atelierechard

📷 queen @spirituniv

📷 @spirituniv

📷 @spirituniv

📷 @spirituniv

☆.。.:*・°☆.。.:*・°☆.。.:*・°☆.。.:*・°☆

come to my diplôme the 12th september at 6 pm

Blazy studio!!!

typo : @cyber_sayid_

☆.。.:*・°☆.。.:*・°☆.。.:*・°☆.。.:*・°☆

come to my diplôme the 12th september at 6 pm

Blazy studio!!!

typo : @cyber_sayid_

☆.。.:*・°☆.。.:*・°☆.。.:*・°☆.。.:*・°☆

come to my diplôme the 12th september at 6 pm

Blazy studio!!!

typo : @cyber_sayid_

tx to @usofusofusofusof ☆. for our 2h at @kiosk.radio

tx to @usofusofusofusof ☆. for our 2h at @kiosk.radio

tx to @usofusofusofusof ☆. for our 2h at @kiosk.radio

tx to @usofusofusofusof ☆. for our 2h at @kiosk.radio

tx to @usofusofusofusof ☆. for our 2h at @kiosk.radio

tx to @usofusofusofusof ☆. for our 2h at @kiosk.radio

tx to @usofusofusofusof ☆. for our 2h at @kiosk.radio

tx to @usofusofusofusof ☆. for our 2h at @kiosk.radio

tx to @usofusofusofusof ☆. for our 2h at @kiosk.radio

tx to @usofusofusofusof ☆. for our 2h at @kiosk.radio

tx to @usofusofusofusof ☆. for our 2h at @kiosk.radio

tx to @usofusofusofusof ☆. for our 2h at @kiosk.radio

tx to @usofusofusofusof ☆. for our 2h at @kiosk.radio

tx to @usofusofusofusof ☆. for our 2h at @kiosk.radio