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Annelies Van Camp o,Arno Lantmeeters o,Julie Goovaerts o,
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Three young artists - Annelies Van Camp, Arno Lantmeeters and Julie Goovaerts - living and working in Ghent (Belgium), active in different disciplines in the fine arts, have been involved in various projects, both organisation and/or participation: Cariousy, Gedankenstreiche im quadrat, Falsche Freunde, Exclamations, Ephemères, Coupe BXL, Salon Electronique,.. . Trois points, drie punten, tres puntos, drei Punkte, three points, ... chose not to stick with one vision. Therefore the group "..." tend to work togheter with other artists in different environments. So, if interested, to fill in the points, please contact us.

REWIND
De Vierkante Zaal van de Stedelijke Academie voor Schone Kunsten te Sint-Niklaas
Curator: Filip Van De Velde
van zondag 20 april tot en met zondag 25 mei 2008 opening tentoonstelling: 20 april om 11u openingsuren: do-vr: 14-17u/ za-zo van 10u-12u en van 14-17u
Deelnemende kunstenaars: o.a. Thomas Bogaert, Marie Cloquet, Léa Lagasse, Benjamin Moravec, Sofie Muller, Marie Snauwaert, Stefaan van Biesen, Robert Van Dromme, Annelies Van Camp… en de leerlingen van de academie.
Exhibition IN DEN BOUW
heavy vibrations red satin smile passion looking back lost in broad daylight visions ever changing moods touched by fragments of dreams leaving this worldfor inner needs
Exhibition TUIN van ETEN
Exhibition Intiem
Tentoonstelling in het kader van ‘Atelier Intiem’een tentoonstelling van Annelies Van Camp, Jurgen Ots en Inger Alfnes. Deze tentoonstelling opent op 26 oktober 2006 met een vernissage om 19.00. De tentoonstelling vindt plaats in de Hoogstraat 271 in 1000 Brussel loopt nog tot 10 november 2006.
Exhibition Kant

©Julie Goovaerts work reflects the themes anonimity, objectivity and the psychology of the display of power in the social space. She places her subjects in a relatively small space/enviroment and hereby tries to trigger a certain social interaction without the obvious physical approachment like we all experience in a doctors waiting room or in small shops, as though we all are persons without specific features.
In her paintings the accent lies on the coloured fields. She wants to give expression to color. The infinity can not be limited by the limitation of the canvas.- She starts from the essence of color. She renders the pattern (and tries to create a timeless artform).
In her photograhy the accent also lies in the anonimity and the objectivity. By placing faces in a large picture and presenting the same face four times. As in a photo-electric cell anonymous and objective. The face becomes isolated.
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* Perception is the basic theme in the work of Annelies Van Camp. Through her work she tries to question our way of perception. Hereby, she shall manipulate and/or accentuate the original situations.
Themes/situations which she manipulates, are concerning the physical appearance of a certain space or even seemingly banal gestures; all things that we don’t even notice anymore because of their banality, things we don’t actually ‘perceive’. Things we are supposed to know (a priori).
In existent architectural spaces she adds subtle, personal accents which manipulate the environment. This ‘familiar’ environment, this familiar theme could be well known, but the context it is shown in (for example: a bathroom painted one half red) or just the banality of a regular, seemingly normal scene (climber climbing a climbing-wall) cause a certain tension.
She often use simple, subtle ways to create a powerful image. Because, mostly it is her intention to show the environment a work is placed in, instead of stressing her personal addings to the scene.
Materials can also become part of the work and be lifted out its original context. (Instead of showing a projection, she shows a gigantic looped super-eight tape that finds it way through different spools attached to walls and corners of a certain room and therefore searches/ touches the space. )
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Arno Lantmeeters’ work consists mainly of (figurative/abstract) paintings; using various techniques and materials ( silver-screen-print, acrylic-,car-, spray- & oil-paint).
A second way of expression expresses itself in the use of computer graphics & prints, in order to lift the ’medium’, the ’craftsmanship’ of the art of painting to a more contemporary level. In which the themes and style stay preserved. By using these two ways of image creating, computer-graphics seemingly hand-painted and actually hand-painted graphics, the contradictory character of both media and their relativeness are questioned.
The pictures often float between an abstract, messy, grafitti- like form and a more figural and transparent style where bits and pieces of texts and figures flash by, but always kind of vaguely, half-, or unreadable, in order not to give the picture a too obvious content. By the use of geometrical forms and the combination of straight and crooked lines and flashing colors a certain (almost) electric chaos is created as if it were a distorted, badly received television-broadcast or a meshed-up test-screen.
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