HYPNAGOGIA

Using the visual vocabulary of a globalized landscape, Diego Herman explores notions of ownership, habitat, and otherness in his paintings. Through the depiction of familiar industrial elements from urban and suburban territories, he creates environments that are both recognizable and alienating.

Fascinated by the significance of limits and boundaries in how we conceive space, he has focused on the motif of the fence a powerful symbol of obstruction to the free movement of bodies. Despite the absence of human figures, Diego Herman composes sociopolitical landscapes. His paintings raise awareness of contemporary issues related to displacement, identity, and humanity.

By painting his recurring motifs fences and borders, abandoned spaces, and wild animals in an unnatural color palette, his works transcend the everyday and become a reflection of our society.

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Haolin Huang’s haunting universe transports us into a world where dream and reality intertwine, weaving a visual tapestry of great intensity. His photographs reveal mystical territories where boundaries fade, creating a blurred space between consciousness and the unconscious. Inspired by the Japanese tale “The Red Ogre Who Cried” by Hamada Hirosuke, his work reflects the tragic story of a kind-hearted demon misunderstood and rejected by humans frightened by his appearance. This fable of solitude and misjudgment runs through the artist’s work as a guiding thread, challenging our prejudices about otherness and difference.

The Red Ogre, in his silent sorrow, becomes a symbol for all who wear masks to be accepted. The Blue Ogre, his self-sacrificing friend, embodies unconditional love choosing to play the villain so the other may be embraced. This dialectic of good and evil runs through each image with striking poetry. Both poetic and somber, Haolin’s work lays bare the melancholy of the misunderstood, the fragile beauty of wounded souls seeking a place in an increasingly unforgiving world.

At its core, his art explores the shadowy regions of the human soul through a disturbing visual poetry, delicately revealing the buried wounds we all carry within us.

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This exhibition challenges us to rethink the ways in which we are connected, both to each other and to the larger systems that govern our existence. How can we anchor ourselves in a world that is constantly shifting, and what role do we wish to play in this vast terrain?
Artist Bio
Isabelle Woodhouse b. 1986, Sydney, Australia. Lives and works in Brussels.


Isabelle Woodhouse is an Australian/Belgian artist whose practice bridges visual art and music to explore the intersection of inner and outer landscapes.A graduate of Chelsea College of Art UAL (MFA, 2014), Woodhouse’s work is a visceral, immediate response to the world around her. Her drawings and compositions serve as a vantage point to examine emotions, thoughts, and the social constructs that shape our understanding of space and identity.

Through her evocative use of form, texture, and sound, Woodhouse’s practice invites the viewer into a realm where the sensory and the symbolic converge, offering a profound connection to both internal and external worlds.

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Through the painting medium, I work on the contemporary landscape. I ask myself why a simple rectangle can be so visually appealing. The collage postcards of american painter Ellsworth Kelly fascinate me. Or, closer to me, the works of belgian artist Mégane Likin. I am looking for my own solution to break the traditional “window painting”. I alternate between small and very large scale formats, exploring its contrast and dynamic. As for my process, my paintings are transformed, scratched and re-worked, like walls in the city, or like medieval palimpsests. I always combine different techniques together, like oil, lacquer, spray paint, plaster, cement. In a figurative-abstract style close to the “bad painting” artists (americans or belgian, like Walter Swennen), the result is deliberately expressionist.

I play with a certain sense of theatricality.
The themes I explore are deceptive. In the sense that, at first glance, you notice the works are almost pretty, pittoresque, playful landscapes. But very quickly you can see that something is not right. You end up noticing a neon military drone, black shadows, or some splashy confusion, weird nonsensical stains. I use my art to exorcise my fear of chaos. I try to play with the disruptive

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Timothée de Brouwer develops a painterly practice rooted in a gestural, spontaneous, and intensely colorful approach. He unfolds a vocabulary of recurring motifs frogs, water lilies, horizons used as starting points for endless formal explorations. These elements, obsessively repeated, become the building blocks of a visual language of his own, where variation takes precedence over faithful representation.

Color occupies a central place in his work: conceived as both a constructive and sensory force, it is applied in vibrant flat tones or translucent layers, generating subtle dialogues between surface, rhythm, and composition.

His work is conceived as a space of free experimentation, where the spontaneity of gesture meets the rigor of visual choices. Blending multiple references to art history, popular culture, and nature with a resolutely contemporary aesthetic, his practice offers images where lightness and density, immediacy and depth, coexist.

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Working on the interrogation of a precious substance - time.

Drawing lines, over and over again, until a pen runs out.
 A search for an answer to the vertigo of emptiness / of our time:
 a space where time doesn’t need to be “useful” to be precious.
 The artist works in a meditative manner while questioning one of life’s fundamental meanings.
 In this way, the “self” enters a kind of automatism; the hand runs and dances without any anticipation or conscious thought tied to the gesture itself.
 Where, then, is the boundary between dream and reality?
 Two worlds subtly connected through thoughts, beings, and actions in themselves.

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