Language is a poor medium for communicating emotions. Intimate concepts are best conveyed by omitting the conscious mind. The cryptic title of this show “hYpnOactiVemiRrorcAve” refers to the magic love triangle that can emerge between artist, work and beholder when hidden places are touched that have no name.
Lysandre Begijn and Diana Roig share an unconditional dedication to the artistic process that feels almost anachronistic in a time where we are flooded with quickly-snapped digital images every day. Their works take time to create and it takes time to decipher them.
Roigs multi-layered abstract compositions and Begijn’s delicately balanced assemblages featuring painted masks have both been influenced, among other things, by indigenous art: the expressive use of color and the obsessive repetition of shapes and patterns exude a meditative quality that directly impacts the viewer.
Begijn’s masks depicting sad, sometimes melancholic or blasé faces, are carefully arranged into tableaus with textiles, ropes and other objects. Resembling shrines or altars, these installations reference archaic religious practice, the universal need for spiritual meaning and protection. Both sacred and banal, Begijn’s work can also be read as a comment on the fetishization of objects in contemporary consumer culture.
Roig’s hypnotic paintings serve as a type of Rohrschach test: drawing in and holding the gaze, the abundance of colors, shapes and structures constantly morph into associative figures, appearing as faces, animals or entire scenes only to dissolve again. Moving away from her typically vibrant palette, Roig’s recent works are characterized by more subdued shades, dealing with the subjects of loss, trauma and healing, represented by the gradual movement from darkness to light.