This exhibition was an investigation into the use of glass as a canvas. It was a series of confrontations of the glass canvas in its physical appearance (smooth – rough | light – dark | transparent screen – reflection | miniature – monumental), but also in the psychological experience (accessible – unreachable | reveal – blur | protect – invite). Going from the canvas as a mediator between inside and outside, to the glass surface as an image former or transformer, as a classical canvas or carrier of a concept that appears as a rigid skin or as a flexible weaving.
The Glass Canvas presents itself as a breakable membrane that gives access to the unreachable reality, which it reflects or deforms, fragments or defragments.
The Glass Canvas is a virgin surface that is covered with paints and emulsions or damaged by chemical or mechanical attacks, but in its clear state can be used as a high gloss protector.
This exhibition was a meeting between old and new in a glass context of religion, architecture, art and entertainment.
Jeroen Maes (BE)
J. Schaechter (US), A. Salvador (IT), W. Berckmans (BE), M. Dukers (IT), F. Jespers (BE), F. Federer (GB), L. Semecka (CZ), S. Peretti (DE/US), M. Janis (US), R. Hawes (CA), N. Sandberg (US), T. Lahaie (US), J. Röder (DE), D. Sandersley (GB), K. Vanderstukken (BE/CA), I. Rosschaert (BE), M. Martens (BE), G. Pierson (BE), J. Caen (BE), E. Leibovitz (BE), W. Delvoye (BE)
Confronted with historical:
stained glass windows (14-16th C), glass medallions (16-17th C), reversed glass paintings (19-20th C), mirrors (19th C), glass photo negatives (19-20th C)
With loans of:
Erfgoed Lommel – Lommel (BE), Musée départemental du Verre – Sars Poteries (FR), STAM – Gent (BE), St. Gummaruskerk – Lier (BE), M. Majerus – Luxemburg (LU), J. Caen – Schoten (BE), M. Groot – Amsterdam (NL), A. Beerents – Amsterdam (NL), Berengo Studio – Venetië (IT), Heller Gallery – New York (US), C. Oliver Gallery – New York (US)