Michèle Schoonjans Gallery
Michèle Schoonjans Gallery
Michèle Schoonjans Gallery
Michèle Schoonjans Gallery
Michèle Schoonjans Gallery
Michèle Schoonjans Gallery
The encounter with everyday windows and their interiors marked Laurent Dumortier first step into drawing. Night-time walks through Namur, Liège, and Brussels led the artist to see differently, to consider these windows as living tableaux. His gaze is drawn to shadows, light, presence and absence, sounds, colours, objects, and bodies. These elements—captured through observation, sketches, or notes—become traces of the "it has been," seen from the unique perspective of the "voyeur" he once was. Beyond what is visible, he reflects on living conditions, family memories, violence, and the aesthetic space of the home. The "visible" is questioned at night—as Michaël Foessel notes, "During the night, the gaze must embrace the unpredictable"—and his drawing unfolds in a tension between memory-based...
The encounter with everyday windows and their interiors marked Laurent Dumortier first step into drawing. Night-time walks through Namur, Liège, and Brussels led the artist to see differently, to consider these windows as living tableaux. His gaze is drawn to shadows, light, presence and absence, sounds, colours, objects, and bodies. These elements—captured through observation, sketches, or notes—become traces of the "it has been," seen from the unique perspective of the "voyeur" he once was. Beyond what is visible, he reflects on living conditions, family memories, violence, and the aesthetic space of the home. The "visible" is questioned at night—as Michaël Foessel notes, "During the night, the gaze must embrace the unpredictable"—and his drawing unfolds in a tension between memory-based traces of reality and new plastic realities emerging on the charcoal surface. Why this title? “Everything Fades. The Horizon Recedes.” is a line from Poem XXXIII in Victor Hugo’s Toute la Lyre (1888-1893). It captivated Dumortier because it explores the effects of night on everyday life. Night reveals other things, alters the function of objects, transforms or distorts, hides or exposes, disturbs vision, and brings mystery to the real. Plants: Nature and Drama Between 2024 and 2026, he observed interiors where plants – real or artificial, living or dead – were hidden within what he calls Our Fake and Small Jungles. He was drawn to their exoticism and the desire to bring vegetation indoors, a simulacrum of an inner Eden. For this exhibition at Michèle Schoonjans Gallery, Dumortier wanted to reconnect with his background as a horticulturist and landscape gardener. Leaves – fleshy, glossy, large, or spiky – become characters, creating a private dramaturgy, sometimes free, sometimes mimetic, inspired by the forms and colours glimpsed through the windows. Two Atmospheric Levels The exhibition unfolds across two levels, each with its own light and mood: on the ground floor, an intimate light, warm and enveloping, where colours vibrate within the interior spaces; on the first floor, a distant light, cooler and more contemplative, allowing forms to emerge in solitude and mystery. Plants embody fragility and vitality: skeletal stems and brown or yellow leaves converse with new shoots, symbolising hope and the fertility of the inner garden. Statues and Presence References to Ancient Greece appear through statues, objects from the past, or secret collections. Frozen between struggle and amorous play, they reflect a possible everyday life. Some plants themselves become statues, personified and poetic. The contrast between white marble and the darkness of night creates a dialogue of opposites. The body becomes material: stone in conversation with the vegetal, not as flesh but as presence. Shadow as Extension of the Soul According to Victor I. Stoichita, the shadow is the double and marks the origin of drawing, as in the myth of Butades. In his work, shadows testify to a presence that eludes him – a « third I know not what » that indicates the direction of light and shapes the aesthetic of the image, as in Vivian Maier’s photography or Hitchcock’s cinema. The shadow extends the soul, transforms, confuses, and reveals new realities, guiding the viewer through the constructed space.| Monday | Closed |
| Tuesday | Closed |
| Wednesday | Closed |
| Thursday | 12:00 - 18:00 |
| Friday | 12:00 - 18:00 |
| Saturday | 12:00 - 18:00 |
| Sunday | Closed |
| ... and by appointment | |
Michèle Schoonjans Gallery
Michèle Schoonjans Gallery
Michèle Schoonjans Gallery
Michèle Schoonjans Gallery
Michèle Schoonjans Gallery
Michèle Schoonjans Gallery
The encounter with everyday windows and their interiors marked Laurent Dumortier first step into drawing. Night-time walks through Namur, Liège, and Brussels led the artist to see differently, to consider these windows as living tableaux. His gaze is drawn to shadows, light, presence and absence, sounds, colours, objects, and bodies. These elements—captured through observation, sketches, or notes—become traces of the "it has been," seen from the unique perspective of the "voyeur" he once was. Beyond what is visible, he reflects on living conditions, family memories, violence, and the aesthetic space of the home. The "visible" is questioned at night—as Michaël Foessel notes, "During the night, the gaze must embrace the unpredictable"—and his drawing unfolds in a tension between memory-based...
The encounter with everyday windows and their interiors marked Laurent Dumortier first step into drawing. Night-time walks through Namur, Liège, and Brussels led the artist to see differently, to consider these windows as living tableaux. His gaze is drawn to shadows, light, presence and absence, sounds, colours, objects, and bodies. These elements—captured through observation, sketches, or notes—become traces of the "it has been," seen from the unique perspective of the "voyeur" he once was. Beyond what is visible, he reflects on living conditions, family memories, violence, and the aesthetic space of the home. The "visible" is questioned at night—as Michaël Foessel notes, "During the night, the gaze must embrace the unpredictable"—and his drawing unfolds in a tension between memory-based traces of reality and new plastic realities emerging on the charcoal surface. Why this title? “Everything Fades. The Horizon Recedes.” is a line from Poem XXXIII in Victor Hugo’s Toute la Lyre (1888-1893). It captivated Dumortier because it explores the effects of night on everyday life. Night reveals other things, alters the function of objects, transforms or distorts, hides or exposes, disturbs vision, and brings mystery to the real. Plants: Nature and Drama Between 2024 and 2026, he observed interiors where plants – real or artificial, living or dead – were hidden within what he calls Our Fake and Small Jungles. He was drawn to their exoticism and the desire to bring vegetation indoors, a simulacrum of an inner Eden. For this exhibition at Michèle Schoonjans Gallery, Dumortier wanted to reconnect with his background as a horticulturist and landscape gardener. Leaves – fleshy, glossy, large, or spiky – become characters, creating a private dramaturgy, sometimes free, sometimes mimetic, inspired by the forms and colours glimpsed through the windows. Two Atmospheric Levels The exhibition unfolds across two levels, each with its own light and mood: on the ground floor, an intimate light, warm and enveloping, where colours vibrate within the interior spaces; on the first floor, a distant light, cooler and more contemplative, allowing forms to emerge in solitude and mystery. Plants embody fragility and vitality: skeletal stems and brown or yellow leaves converse with new shoots, symbolising hope and the fertility of the inner garden. Statues and Presence References to Ancient Greece appear through statues, objects from the past, or secret collections. Frozen between struggle and amorous play, they reflect a possible everyday life. Some plants themselves become statues, personified and poetic. The contrast between white marble and the darkness of night creates a dialogue of opposites. The body becomes material: stone in conversation with the vegetal, not as flesh but as presence. Shadow as Extension of the Soul According to Victor I. Stoichita, the shadow is the double and marks the origin of drawing, as in the myth of Butades. In his work, shadows testify to a presence that eludes him – a « third I know not what » that indicates the direction of light and shapes the aesthetic of the image, as in Vivian Maier’s photography or Hitchcock’s cinema. The shadow extends the soul, transforms, confuses, and reveals new realities, guiding the viewer through the constructed space.| Monday | Closed |
| Tuesday | Closed |
| Wednesday | Closed |
| Thursday | 12:00 - 18:00 |
| Friday | 12:00 - 18:00 |
| Saturday | 12:00 - 18:00 |
| Sunday | Closed |
| ... and by appointment | |