Edith Dekyndt and Richard Tuttle

Galerie Greta Meert is pleased to present Ne pas laver le sable jaune, Edith Dekyndt's fourth solo exhibition at the gallery, conceived in response to a residency in the north of the enigmatic island of Ibiza.

It was within the island's idyllic conditions, and the context of the 'Summer of Love’ of 1968, that hippie culture found refuge, away from any form of US imperialism, far from the shadow cast by the Vietnam War. Less documented is the quiet transition of a number of the movement's protagonists into entrepreneurs and other actors within Silicon Valley’s environment of technological radicalism.

It's precisely at this intersection that Ne pas laver le sable jaunepresents assemblages of natural elements – wood, earth, textiles, plants – and timeless crafts – crocheting, knitting, weaving – in dialogue with works made with, for example, experimental 3D printing.

Working with video, sculpture, installation, sound and drawing, Edith Dekyndt addresses timeless questions about time and space. Using this wide range of techniques, she makes transient physical phenomena and momentary incidents visible, creating a conceptually rich and materially engaged visual language. Paying homage to what is neither clean nor pure, her work functions as a translation of time into materiality and vice versa, a study of the subtle variations in the fabric of our tangible world.

Galerie Greta Meert is pleased to present Richard Tuttle's sixth solo exhibition with the gallery, 18×24, introducing a series of wall pieces created in his studio in New Mexico.

Forms – shapes, gestures, and written words – drawn on sheets of 18×24 inch paper, are rendered, by the artist’s very personal methodology, in styrofoam, into works evading definition as sculpture, painting, collage, installation, or assemblage, transcending their humble materials into a mirage-like abstractions, lyrical gestures in rich, often monochromatic color.

His work is widely recognised for its ability to evoke poetry from the ordinary, concerning the myriad ways in which light, scale, color, and systems of meaning flow from his art into the world; that art can be a fundamental means of influencing life itself.