| We are pleased to invite you to the opening of Liam Everett and Sol LeWitt's [removed];
Vernissage on Thursday, September 4
6 ⏤ 9pm
Opening hours during RendezVous Brussels Art Week
September 5 until Sunday, September 7
11am ⏤ 6pm |
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Liam Everett
He Loved Him Madly
September 5
⏤ October 25, 2025
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Installation view, He Loved Him Madly, 2025
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Liam Everett’s recent body of work, presented in the exhibition
He Loved Him Madly, continues his exploration of painting as an accumulative, almost fugitive practice — one where process, erasure, and material transience coalesce into resonant, unstable surfaces. The exhibition centres on a series of large-scale tondos (circular canvases, each approximately 195 cm in diameter), alongside other intimately scaled works, all of which bear the traces of Everett’s laborious, ritualistic methods. His paintings emerge through cycles of application and removal—layers of pigment, salt, alcohol, and solvents are worked, distressed, and partially effaced, leaving behind luminous, palimpsestic fields that hover between presence and dissolution.
The exhibition’s title, He Loved Him Madly, borrowed from Miles Davis’s haunting 1974 elegy for Duke Ellington, suggests an undercurrent of devotion, loss, and improvisational intensity — themes that resonate with Everett’s approach.
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Sol LeWitt
Bands, Curves and Brushstrokes
September 5
⏤ October 25, 2025
6RT!art
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Installation view, Bands, Curves and Brushstrokes, 2025
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Galerie Greta Meert is delighted to present Bands, Curves and Brushstrokes, a historical exhibition devoted to Sol LeWitt (1928, Hartford CT – 2007, New York). Between 1996 and 2002, LeWitt produced a remarkable series of works on paper — Parallel Curves, Tangled Bands, Irregular Curves and Not Straight Brushstrokes — that mark a shift within his practice. Known as one of the pioneers of Minimal and Conceptual art, LeWitt had built his reputation on systems, modules and instructions, where the idea preceded execution and the artist often withdrew behind a framework of rules. These late works, however, complicate that legacy: while repetition and logic remain, they are infused with tactility, colour and the immediacy of gesture. These series open onto a more intimate dimension of LeWitt’s practice. They invite close looking, where the richness of surface and the vitality of colour unfold. Conceptual clarity is not abandoned but expanded — proof that within structure, sensuality and freedom can thrive.
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rendezvous brussels art week
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Artist Talk: Liam Everett
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Join us during RendezVous Brussels Art Week for a special talk with Liam Everett.
Please register here. |
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