ROELAND TWEELINCKX

[ARTIST IN FOCUS]

Roeland Tweelinckx is well-known for his three dimensional creations, in which he uses materials from our daily lives to create a dialogue with the artwork’s environment and to manipulate our spatial perception. His prodution is characterized by a mix of objects and in situ works called «interventions», placed in public settings or exhibition spaces.

I don’t want to grow up

2019
95 x 7 x 45 cm
Wood, paint and existing ceramic vase
Unique work

This work was created on the occasion of the solo show “Things you can rearrange“, partly an homage to the Roeland Tweelinckx’s late father. It conveys a certain melancholy, but also the artist’s need to rearrange and reorganise his surroundings. To rebuild the world to his liking, through a stripped-down and pure visual language.

4.500 euros
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    Grandmother’s shoes acting like a Agapanthia Villosoviridescens

    2013
    28 x 18 x 29 cm
    Shoes
    Unique work

    Using and misappropriating common materials in his interventions, Roeland Tweelinckx’s work acquires an almost magical strangeness. His combination of humor, poetry and incisiveness has a whimsical touch, but at the same time invites a more focused view of reality.

    4.200 euros
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      Support carriers

      2014
      Variable dimensions
      Wood and paint
      Edition of 3 + 1 A.P.

      Roeland Tweelinckx often displaces elements, still in their original form, to install them at the most unexpected locations. By modifying the nature and the context of these objects, the artist provokes a conceptual shift in the way we perceive a situation. Once noticed, Tweelinckx’s humorous interventions take over the entire space, no matter how minimalistic or invisible they were intended to be.

      2.600 euros
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        How Soon Is Now

        2018
        112 x 30 x 25 cm
        Synthetic material, wood, ceramics & paint
        Unique work

        Roeland Tweelinckx’s work incorporates both found objects and their duplicates, showing his unparalleled talent for trompe-l’oeil. The artist plays with the codes of several artistic movements and traditions, from Surrealism and Dadaïsm to the imitation of reality which is at the heart of representation. And thus, deflecting all dogmas and established principles, he leaves us slightly confused but thoroughly fascinated by his hybrid creations.

        6.200 euros
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          Beam and Chair

          2018
          90 x 194 x 46 cm
          Chair, wood and paint
          Unique work

          Roeland Tweelinckx plays with expectations, subverting the laws of physics. Here, a metal beam is miraculously balanced on a chair, reversing the standard relationship between an architectural structure and an object created to support the human body.

          8.000 euros
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            Compulsive Reflex

            2013
            42 x 29.7 cm
            Paper and glue
            Edition of 10 + 2 A.P.

            Paper is a perfect medium for Roeland Tweelinckx’s practice of choice : playing with perception.

            “Compulsive Reflex, a rectangular sheet of white paper that seems to be peeling off the wall, evokes a blank poster which has been partly pulled down. This ‘poster’ only exposes its fluorescent yellow side, hidden at the back, through reflection on the wall. Such discretion in the appropriation of the wall as a blank plane is characteristic of Tweelinckx’s inclination towards unobtrusive gestures, only detectable after a second glance. In fact, he does not hesitate to play in the margin of the invisible.” – Pierre Saurisse, 2013

            300 euros
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              Shifted Chimney

              2017
              32 x 45 cm
              Polymer etching
              Edition of 10 + 2 A.P.
              700 euros
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                "Tweelinckx works within the tradition of the trompe l’oeil. He makes light of reality. In Ljubljana, for instance, he made a crack in the wall in six different museums. The intervention, however, turned out to be a silk screen, directly applied onto the walls."

                - Sam Steverlynck, 2015