Caroline Notté New Member of the BEL

Have you heard the big news? The BEL is welcoming 3 new members.
Openness is the key to expansion. That’s exactly why the BEL always keeps an eye out for new Brussels-based talents & takes pride in welcoming them into its circle of expertise. 
This month, we’d like to wish Caroline Notté, a warm welcome. We have no doubt she shall inspire us & you with their singular artistry & radiate Brussels uniqueness through their expertise. 
BEL presents Brussels luxury items in Belgium and beyond our borders, all of which encompass local savoir-faire, unique service and exceptional products.
Each one of these unique talents, that often exist from generation to generation, remind us that it is more important than ever to develop and perpetuate arts and crafts and services in order to embrace innovation, which is so intimately compatible with tradition, as well as cultivating curiosity.

S O P H I E
C A U V I N


L’art de l’ANTI-TABLE

 

Cauvin craque sa matière première pour lui donner les formes les plus étonnantes et totalement imprévisibles comme si le feu, l’eau, les éléments naturels avaient dicté ses mouvements et éruptions.
Artiste engagée, Cauvin jongle entre artisanat et brutalisme, un art Brut sans aucune connotation décorative.Elle jaillit – ici littéralement hors du cadre et réinvente complètement l’art de la table dans un élan d’expressionisme non contrôlé.
Les récipients deviennent des ustensiles primitifs et craquelés, non façonnés et un gigantesque puzzle gravit la terre à l’infini et zigzague au rythme des impulsions de l’artiste. 

Cette passeuse de mondes connue pour revisiter les formes géométriques primordiales bouscule l’art de la table en redonnant toute sa force au récipient qui devient comme la monture d’un bijou primitif dont la densité de la matière fond de chaque création en une cosmogonie au fil de laquelle les temps des origines se transmettent et s’entrecroisent.

Private Visit of Aurélie Gravas’s workshop the 12-13-19-20-26-27 of March

When?

12 + 13 – 19 + 20 – 26 + 27 MARCH

from 3 to 5.30 PM

Reservation here



Her work seduces in that
it weaves a remarkable spatiality. 

Each canvas
-there are also drawings-
deploys its world,
its universe of acid colors
in which it is tempting for the eye
to seek refuge. 

It is sometimes a question of
an inside and an outside,
but not necessarily. 

What dominates here
is the elaboration of
effective formal solutions,
these “je-ne-sais-quoi”,
these “almost nothing”
that make the composition hold,
impose itself.


 

Discover during a happening this Thursday February 10 2 new brands Karin Van Loon & Octogony in the gallery – Register here

Caroline Notté is happy to present two new Belgian brands

K A R O L I N  V A N   L O O N & O C T O G O N Y

during a drink

Thursday 10th of February 2022
from 5.30 to 8.30 PM

@ Louis Herman de Koninck’s House

Please confirm your attendance before February 4 by email.

 

 

I N T U I T I O N
I S
T H E   K E Y
T O
E V E R Y T H I N G

Just as the layered beauty of agate takes millions of years to form, a design does not simply spring from nowhere. Starting from the rawness of nature, Karolin works with care and respect to create something valuable. There are no changes, only additions. Nevertheless, nothing is self-evident.

The natural resonance between people is also important in her work, as is each individual’s own unique identity. By bringing together our different worlds rather than replicating them, we create a new universe in which we strengthen one another.

karolinvanloon.com

O C T O G O N Y
I S   B O R N


Infused by brutalist architecture and the spirit of the ‘60s. A perfect combination of aesthetics and pragmatism. The octangle is its heart, emerging through every custom-made detail: monogram, buckles, strap details, flap curves, octangle- shaped mirror.

Functional modularity becomes octogony’s defining characteristic. Several volumes of bags accompanied by their very own secondary bags and accessories.Customized with a choice of straps. High quality materials, timeless design, and second-life construction situate the brand in the humble luxury segment.

octogony.com

 

Litho by GUILLAUME DELVIGNE

You need to add a widget, row, or prebuilt layout before you’ll see anything here. 🙂

A designer who graduated in 2002 from the Nantes Atlantique School of Design, Guillaume Delvigne began his career between Milan and Paris, working with big names such as George Sowden, co-founder of the Memphis movement, and Marc Newson, a star of contemporary design. In 2011 he launches a solo show, inaugurates his first solo exhibition at the ToolsGalerie and wins the Grand Prix de la Création de la Ville de Paris. Today he works with craftsmens, publishers or industrialists mainly in the fields of furniture, objects and lighting. His clients are major French and foreign companies or younger publishers (Hermès, Frandsen, Hanoia, Lexon, La Chance, ENO studio, Hartô…). Guillaume Delvigne is an illustrator. His highly sensitive work is influenced by photography, architecture and more generally by everything visual. He is looking for the perfect balance, his paw is soft and uncluttered while being extremely rigorous, his sense of detail is very strong.


With the collaboration of Pierre Frey 

Price Request

Joins us ! Art meets music

  Caroline Notté
is pleased to invite you to
Aurélie Gravas’s live concert.
  S O N G S
F O R
P A I N T


Wednesday 8th September 2021
6.30 > 9.30 PM

@ Louis Herman de Koninck’s House

Please confirm your attendance
before August 29 by email.
 

Paintings Courtesy of Alice gallery

GRAFFITO WALLPAPER by Kelly Wearstler

Where fine art meets street art, Graffito is an abstract graphic print. The trademark handpainted pattern brings the expression of movement and texture to a room. Graffito now comes in nine fashion colorways on a fine 100% paper ground. Pair with the coordinating Graffito Fabric.

 

The Star and the flower pot by Aurelie Gravas

AURÉLIE GRAVAS – ART MAKES MY NEST

“Painting, for me? The desire to create a space in front of which I can stay until the end of the world.”

Plenitude and mystery, in these unqualified places, compete for the space of the canvases, a space that the artist does not occupy all over, often left blank, under the kind of ample reserves. The result, which tends towards Miro, Morandi, Calder, Paul Klee, the Picasso of La joie de vivre (1947), Yves Tanguy, catches the eye and rests it, in the same dynamic and posed movement. Some rare portraits emerge in this little humanized set. They are not exactlly definable, and rath- er archetypical. Let us note, between these, that of a green frog or the colorful silhouette of a woman treated in Sonia Delaunay style.

When she paints, Aurélie Gravas proceeds not with great final gestures but, on the contrary, by the accumulation of gestures different from each other, singularized. This artist, always, cerebralizes her words and her gesture. She only undertook her paintings with caution, and by her own admission, after a long period of reflection. First moment: Aurélie Gravas arranges on the canvas, before sticking them, some pre-cut shapes in paper, a technique used in his time by the last Matisse with his Gouaches. These cut shapes, which may have been painted separately, are then accompanied by lines made this time directly on the canvas, in a non-homogeneous way. Some of these lines are spray-painted but others are in oil, others are drawn in charcoal. Fragmentation of the executed gestures, division of the various elements coming to combine in the canvas: this factory is assimilated to a groping creation, to a construction coming from the arrangement if not from the game of patience. Just as one would open a path or, as the wording Tipees calls it, as one would build a house but a non-prefabricated house, brick to brick, without any assembly plan.

Aurélie Gravas uses art as a strategy for life and survival. To create, in his specific case – without the slightest desire to demonstrate something, or to teach – is to build a place of protection, a haven against everything that threatens life. The studio, a cloistered environment and apart from the world that she greatly appreciates, where she spends long days, sometimes just contemplat- ing her paintings, is a shelter. The bunker of protected, preserved individuality.

 

Size 140 x 115 cm, pastel et fusain 

Price request

 

AURÉLIE GRAVAS – ART MAKES MY NEST

“Painting, for me? The desire to create a space in front of which I can stay until the end of the world.”

Let us come to the painting of Aurélie Gravas, French artist established in Brussels, to signify straight away that we will appreciate it in these lines through the prism of specificity, not of uni- versality. The manner of Aurélie Gravas belongs only to her. Developed by collage, by brushing, by tracing with a very worked sense of arrangements, it escapes all narration, oscillates between figuration and abstraction, does not reject tradition, embodied unvarnished by the references to great elders, although by tracing asingular way. Another singular point that we will take into consideration: the title of this new series of paintings presented this winter in Brussels, “Tipees”, rather sibylline. The tipee? This Native American habitat, of canvas and wood, has the character- istic of being more precarious than solid, and nomadic as much as sedentary.

Plenitude and mystery, in these unqualified places, compete for the space of the canvases, a space that the artist does not occupy all over, often left blank, under the kind of ample reserves. The result, which tends towards Miro, Morandi, Calder, Paul Klee, the Picasso of La joie de vivre (1947), Yves Tanguy, catches the eye and rests it, in the same dynamic and posed movement. Some rare portraits emerge in this little humanized set. They are not exactlly definable, and rath- er archetypical. Let us note, between these, that of a green frog or the colorful silhouette of a woman treated in Sonia Delaunay style.

When she paints, Aurélie Gravas proceeds not with great final gestures but, on the contrary, by the accumulation of gestures different from each other, singularized. This artist, always, cerebralizes her words and her gesture. She only undertook her paintings with caution, and by her own admission, after a long period of reflection. First moment: Aurélie Gravas arranges on the canvas, before sticking them, some pre-cut shapes in paper, a technique used in his time by the last Matisse with his Gouaches. These cut shapes, which may have been painted separately, are then accompanied by lines made this time directly on the canvas, in a non-homogeneous way. Some of these lines are spray-painted but others are in oil, others are drawn in charcoal. Fragmentation of the executed gestures, division of the various elements coming to combine in the canvas: this factory is assimilated to a groping creation, to a construction coming from the arrangement if not from the game of patience. Just as one would open a path or, as the wording Tipees calls it, as one would build a house but a non-prefabricated house, brick to brick, without any assembly plan.

Aurélie Gravas uses art as a strategy for life and survival. To create, in his specific case – without the slightest desire to demonstrate something, or to teach – is to build a place of protection, a haven against everything that threatens life. The studio, a cloistered environment and apart from the world that she greatly appreciates, where she spends long days, sometimes just contemplat- ing her paintings, is a shelter. The bunker of protected, preserved individuality.

Although contemporary with a heavy and often cruel topicality, her painting intends to keep the distance with all painful realities of our present. Instead, from a perspective of escape and overcoming, she uses art as well as this armed practice which allows life to escape from these dra- mas. Indifference ? No. Change of territory, in this case. Aurélie Gravas paints to not let disarray, scandal or fear take control, to spare the possibility of serenity, this fact that has become so rare in our stressed lives.

It is in fact the act of painting, for Aurélie Gravas, an artist at the same time powerful and fragile, like an act of self-protection, against two potential destructions. On the one hand, the destruc- tion to which the outside exposes – nothing is just soothing for a long time, and multiple threats always lurk on the edge. On the other hand, the destruction to which exposes the fear of not being up to the harshness of the world, a fear which makes you prefer sterile confinement, even preventive self-destruction. To paint in the workshop which has become a “tipee”, to generate a painting which is like the existence in the “tipee”, in the hollow of the workshop, this place among all chosen by Aurélie Gravas, her Promised Land, allows for better negotiate with your- self. Helps to control possible panics by converting them into forms. To contain them, these pan- ics, but not to extinguish them completely or suddenly, let us specify: the tipee is not a fortress, it remains a fragile habitat, it is also a floating inhabitant which moves with the movement of life without always being able to escape its constraints and its problematic vagaries.

Aurélie Gravas: her art is linked with the hope of peace, rest, life changing into a qui- et eternity. Painting, in this singular form of nesting, opens a parenthesis, and stabiliz- es the experience, while the threat does not end but remains at the door of the tipee.