Warre Mulder (°1984) studied painting in Antwerp and now lives in a polder village in Zeeland. In his studio, colourful ceramic pieces sit alongside printed texts, blocks of plasticine, pots of paint, and dozens of instruments. Mulder tinkers, explores, reflects. Sometimes his works emerge from a chance juxtaposition of materials; just as often, they are nourished by the sculptor’s wide-ranging interests.
For his exhibition ‘I fool you not, my friend. And I shall describe a part of what I have seen’, Mulder engaged with the curious medieval book ‘The Travels of Sir John Mandeville’. He uses Mandeville’s work as a starting point to reflect – through his idiosyncratic sculptural approach – on the scope of storytelling and imagination. Mandeville may not have been an accurate traveller, but he collected stories – and with them, perspectives: perspectives from the Middle Ages on people and places known mostly through tales. Mulder continues that conversation. His colourful sculptures build on Mandeville’s collage-like characters. They are not mimetic representations: anyone consulting the original text will notice that Mulder’s figures diverge from the descriptions. He envisioned them anew, letting form follow fantasy. (From the text of Sixtine Bérard)
Corentin Descamps (°1997, Namur) lives and works in Brussels. He began his studies at ESA Le 75, where he earned his bachelor’s degree, and obtained his master degree in visual arts at ENSAV La Cambre in Brussels.
The exhibition ‘Tout le monde aime papa’ presents a series of paintings characterized by their minimalist approach and pursuit of immediate impact. Each work is composed of a flesh-toned background, developed through the layering of thin coats, thereby creating a nuanced depth and subtle richness. The subject, applied in bitumen—a dense, glossy, and symbolic material—disrupts this balance, introducing a materialized tension between the softness of the background and the roughness of the material. The themes explored are deeply connected to the environment in which the artist grew up: the Walloon countryside, a territory marked by violence, debauchery, and exuberance. These are not external narratives, but lived realities—integrated and absorbed. These scenes are ingrained in his memory. The artist approaches them with severity and derision, but also with a measure of tenderness, as they speak of people, gestures, and places that were dear to him and that, despite their harshness, truly mattered.