In my practice, I accept two types of artwork: one for the wall, the other for space. By the early 1990s, their forms had emerged as a crystallization of the most basic conditions of painting and sculpture: hanging and surface, standing and volume. Reduced to these essentials, they are neither evocative nor authoritative; they are simply present. Only when these types enter into relation with a cultural fragment does a situation arise — from which a narrative becomes possible. Through this narrative, the works come into their identity.

Harmen  Brethouwer