Auteursarchief: Liesbeth

Hi Eunkang Koh!



Humanity Bites – details, relief print, fabrics, plastic containers, 10 1/2 (the container size) x 10 inches (height), 2014-2015

What’s there to know about Eunkang Koh? I received my B.F.A. from Hong-Ik University in Seoul, South Korea and M.F.A. from California State University, Long Beach, California. The relationship between humans and the society in which they live is the main source of inspiration in my artwork. I work in various media- printmaking, bookart, drawing, and installation to address social phenomena in our contemporary consumerist society. I show my devotion to art and the art making process. I have significant solo exhibitions that include Main Gallery, The Society of Northern Alberta Print-Artists in Edmonton, Alberta, Canada; La Taller in Bilbao, Spain and The Lab; and Varnish Fine Art in San Francisco. I also has participated national and international group exhibitions such as Centro Civico Pati Limona in Barcelona, Spain; Art Space Jungmiso in Seoul, South Korea; Mei Lun Gallery at Huan Fine Art Institute in Changsha, China; and Central Booking in New York City, New York. I have been invited to artist-in-residencies including Seacourt, Bangor, Northern Ireland, Frans Masereel Centrum in Kasterlee, Belgium; Guanlan Original Printmaking Base in Shenzhen, China; Chhaap Printmaking Studio in Baroda, India and Kala Art Institute in Berkeley, California.

I am a Associate Professor teaching printmaking and drawing in the Art Department at the University of Nevada Reno.

Lost and left, intaglio, 2007

Lost and left, intaglio, 2007

Assholes, intaglio, 2011

Assholes, intaglio, 2011

Why did you choose printmaking as a medium? I love mark-making part of printmaking. All my work involves some kind of mark making, whether it is a pencil, pen, carving tools. Printmaking techniques give amazing quality of marks on the surface we use. Each different technique gives quite different results. That is one reason why I focus on relief and intaglio at the moment because these two techniques give me amazing and unique quality of lines/marks. I also love the fact that printmaking offers a sense of community. A lot of people include myself share a printmaking studio with other people. While we work together, we have to be sensitive to others to be able to work together. We can also exchange ideas and help each other. These are two big reasons why I choose to use printmaking.


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Human Hoard Printstallation, size variable, woodblock print, fabric, 2016-2017

What is your work about?
Humans as social animals and the societies that they inhabit are the main sources of motivation in my art. I draw from the human circumstances that flourish between reality and perception. Born and raised in the Korean myth culture and adopting Buddhist philosophy, I assume that the world we are living in is not real but is an illusion that we perceive. I doubt that there is anything like truth in a concrete sense. Drawing from this philosophical background, my work focuses on human in our contemporary consumerist society. The lifestyle and thinking processes of humans are often ruled by money and capitalism. Society encourages us to foster goals to become richer so that we can consume even more. Consumption driven by endless desire triggers identity crises.Trying to fit into this consumer culture makes individuals lose the sense of their own identities and personalities.

I use half animal and half human figures in my work. These hybrid creatures represent a portrait of us, humans as social animals in the society that we live in. These creature hybrids express the absurdity of the human world.They portray ironic gestures that create a mixture of humor and grotesqueness, reflecting life in our consumerist society.

The creatures are symbolic of the consumerist ideal of humans who are dimwitted and un-knowing, or who choose not to see anything beyond the ‘facts’ that they are taught.



Head Gone, size variable, woodblock print, fabric, 2017

Can you tell us about your process? How do you work? My work consists of multiple types of print media, and incorporates other media to reference mass consumer culture, including plastic boxes, vinyl sheets, and paper bags. For printmaking, I use different printmaking techniques to create images such as relief and silkscreen depending on project. My current project, Printstallation Invasion, involves relief techniques ( please attachment images) to print the images on different types fabrics and then sew them together with other fabrics in order to turn them into a large installation. I use a sewing machine for basic sewing process and handsaw detailed shapes and lines.


City Parade, 2011

What other artists are inspirations to you? I love Louise Bourgeois. I look at a lot of her human sewing sculpture while I was making print installation pieces. I am deeply inspired by Yayoi Kusama and her obsession and art. I am also inspired by a film director, Wes Anderson.

Meer info over Eunkang Koh vind je hier


Hi Kaleena Stasiak!


What’s there to know about Kaleena Stasiak? I am from Toronto, Canada and am currently pursuing an MFA in Printmaking and Book Arts at the University of Georgia in Athens, Georgia. I like to travel and collect souvenir thimbles and spoons. Gold and double denim are important to me. My favorite sport is dependent on which Toronto team is winning. I love Drake but not more than I love Beyonce. Right now I’m reading critical theory and the Neapolitan Novels by Elena Ferrante.

 Why did you choose printmaking as a medium? In a world where technology advances faster than people can keep up with it, I believe it’s important to keep alive time-honored and long-established processes. Printmaking itself was once a major progress of industry and a democratic medium of mass communication. Its migration from religious, craft, and commercial uses to artistic ones makes it an ideal visual language for my work. This history also allows it a unique ability that I exploit to ironically reflect and illustrate the issues of today. I am drawn to the ritual and repetition of printmaking and the liturgy of its actions that become ceremonial and sacred. I am fascinated by the dichotomy between the intimacy with materials and the distance that is created by the use of technology. In combination with printmaking I also utilize an assortment of tactile media such as ceramics, textiles, and wood furniture to create immersive installations.


What is your work about (thematically)? My subject matter is grounded in craft and “women’s work” of the 19th and 20th centuries. I have an ongoing preoccupation with handmade household necessities such as quilts and doormats and their ability to reflexively represent the bodies that made them. My past work calls into question the taboo nature of death in our society and the human need to create and attach meaning to inanimate articles in order to make sense of the world around them. Currently I am exploring methods of history consumption as a way to address the relationship between the past, identity, and craft.

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Can you tell us about your process? How do you work? My artistic practice engages in material and textual investigations both inside and outside of the studio. I approach research and art making through the lenses of artist, amateur historian, scientist, and cultural anthropologist. I find inspiration by poring over books in the library, going to museums and attending cultural phenomenon such as historical re-enactments. My materials are culled from craft stores, thrift shops, and antique markets. I explore themes and ideas by sifting them through the sieve of different mediums and processes.

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What other artists are inspirations to you? My great-grandmother’s handmade quilts are constantly a source of inspiration. A professor from my undergrad, Sarindar Dhaliwal, still shines as the type of artist that I would like to become. I am influenced by the Feminist Artists of the 1970’s, their use of high and low materials, and the body as a sight of political activism. I love the way Sophie Calle thinks. Annette Messager, Kiki Smith, Louise Bourgeois, and Eva Hesse all serve as powerful examples in their manipulation of materials. I recently had the opportunity to assist Michi Meko, an artist from Atlanta whose work I adore, and I was invigorated by his methods and approaches to art making. For a more detailed account of artists whose work I find inspiring check out my tumblr.

More information about Kaleena Stasiaks work can you find here or through her Instagram: @girlwiththebangs


Hi Saar De Buysere!


Wat moeten we weten over Saar De Buysere? Geboren in 1972 en afkomstig van Zomergem. Ik woon in Ledeberg en heb een atelier in Gent. Naast beeldend Kunstenaar werk ik ook als illustrator (waaronder beeldboeken voor personen met een beperking en voor het kinderkledingmerk Baba) en ben ik leerkracht in de kunstacademie.


Waarom de keuze voor grafiek? Wat spreekt je aan in dit medium? Naast mijn opleiding Beeldhouwkunst volgde ik ook gedurende een 10 tal jaren het atelier zeefdruk in de academie van Eeklo, waar ik ook les geef (kunstexploratie). Daar heb ik na allerlei experimenten met het medium mijn weg gevonden in het werken met transparante inkten gecombineerd met potlood op allerlei materialen. Grafiek en in het bijzonder zeefdruk is een medium die mij toelaat bepaalde facetten van mijn beeldend werk op een andere manier te benaderen. Het evidente reproduceerbare van zeefdruk is een belangrijk aspect dat ik gebruik in mijn werk, net als planten, die regelmatig terugkomen in mijn werk. Niet als oplage maar gedijend op verschillende (onder)gronden en in composities. Ook het gebruik van kleur is iets dat ik leren kennen heb via zeefdruk, vooral het gebruik van volle, ruisende kleurvlakken.

Kan je ons wat meer vertellen over de inhoud van je werk? Ik ga van klassieke ideeën uit. In mijn op het eerste zicht huis-tuin-boom cultuur, werk ik als een stadsplanner, een architect van een ideale omgeving die streeft naar ontspanning, genot, uitwisseling en een laag energiepeil. Met betrekking tot het werk wordt niet in termen van schoonheid gesproken, maar het concept handelt over schoonheid: schoon bloemen een schone tuin, het werk is een middel om schoonheid te creëren.


Kan je ons wat meer vertellen over je werkproces? Ik vertrek meestal van een bepaald element: een bloemstuk, een portret, een berg. die zoek/vind ik in oude tijdschriften, oude schilderijen, postkaarten. Dat element verwerk ik, reproduceer (met carbon, zeefdruk, kalk…) en breng het samen met eerder gevonden elementen. Het ene werk is een gevolg van het vorig, soms letterlijk soms figuurlijk.

Wie inspireert je?
Mijn leerlingen, die mij leerden gommen. Rommelmarkten

zustersWelke grafische kunstenaar moeten we zeker leren kennen?
Pierre-Joseph Redouté. Botanisch tekenaar die de stippelgravure perfectioneerde en regelmatig tentoongesteld in menig woonkamer.

Hi Michael Benedetti!


Three Dimensions of Ochre, 2016

What’s there to know about Michael Benedetti? I’m 31 years old and a Capricorn. I was born in Pittsburgh, Pennsylvania and was supposed to be born on Christmas Day but I was three weeks late. My favorite foods are burritos, sandwiches, spaghetti, and avocado. I collect books, small antiquated cardboard boxes, and I watch way too many movies. I like cats.

Why did you choose printmaking as a medium?
I have always been drawn to two-dimensional work and I have been drawing, in some form or another since I was 4 or 5 years old. As I grew older, I became interested in architecture as well as functional objects such as furniture and machinery. Anything that was comprised of multiple components working together to create a larger object or action. So when I took my first printmaking class in 2006 I was attracted to the process-based form of 2D image creation. This way of creating an image provides me with a foundation, something to start with – a process or set of tools or, most importantly for printmaking, the matrix – and that makes it easy for me to work because as we all know, starting can be the most daunting part of the creation process. But most importantly, I have always seen printmaking as an art form that provides the most potential to create something unique, something awe- inspiring and fascinating. There is a lot of mystery in printmaking and no matter what process I use I am always surprised and intrigued by the outcome.


Black Tooth Table Top, 2016

What is your work about thematically?
My work is about space, architecture, and design and how those subjects play a role in the systematic construction of an object, idea, or image. A system is simply a process with an input and an output. In most cases, the output is then fed back into the system as the input and the process repeats, constantly creating variations of the initial idea or image. This fascinates me and provides a very specific way of creating a work of art. I am also very interested in creating something that looks good, something attractive. I use my interest in systems to create an image that you are initially pulled to aesthetically but once you begin to interact with and experience that image you begin to see that there is a conceptual framework hidden underneath.


Can you tell us about your process? How do you work?
My process is rooted in challenge. Challenging myself physically as well as conceptually. With everything I create I am constantly trying to see how well I can create something. I treat my process like a job, I clock-in and clock-out every day. This helps me plan and compartmentalize what I want to do in the studio each day. I create lists of tasks for myself based on the logical deconstruction of what it would take to create something – a sculpture, carving a woodblock, preparing stencils for screen printing, etc. – whatever I want to do in the studio needs to be listed at the beginning of each day and crossed off the list by the end of the day. Even though each day the list keeps getting longer and less and less tasks get crossed off…Regardless of that, as long as I’m constantly moving, thinking, creating, and challenging myself then it’s a successful day in the studio.


Three Outta Three, 2015

What other artists are inspirations to you? And who would you recommend for this little interview?
I am influenced by a wide range of artists as well as architecture, design, and comic books. Sol Lewitt and Mel Bochner have been very influential on my work for the last two years. Their use of systems has informed my perspective on art making and how images and ideas can be dissected into smaller parts which have just as much potential as the sum of those parts, if not more so. Donald Judd’s prints are amazing. James Jean and Mike Mignola are great artists and represent my love of illustration and comic book art. Frank Lloyd Wright and Charles Rennie Mackintosh are two architects/designers that have had a profound influence on my aesthetic and are solely responsible for my love of geometry and Arts and Crafts objects and architecture.

I recommend two amazing individuals: Kaleena Stasiak and Katherine Miller. Both are fantastic artists and are doing some very interesting and great things with printmaking. If you can, email/interview both of them but if you can only choose one then that’s up to you… If you want to know more about them I would love to talk for hours and hours and hours about them.

Meer info over Michael Benedetti vind je hier.

De tentoonstelling in Kamer 108 loopt nog tot en met 20/12. De tentoonstelling wordt afgesloten met een lezing die Michael zal geven over zijn werk en een finissage om 19u in de Academie voor Beeldende Kunst DKO Gent, Offerlaan 3, 9000 Gent.





Binnen twee weken opent in het 21st Century Museum for Contemporary Art te Kanazawa, Japan de tentoonstelling WEWANTOSEE.

32 beeldende kunstenaars, steeds op één of ander manier verbonden met Gent of Kanazawa, tonen er hun werk. Een doorsnede van wat leeft in beide steden. Onbekend, bekend, figuratief, non figuratief, groot, klein, alles kan…

Van de 16 Gentse kunstenaars zijn er maar liefst 5 geselecteerd die met de Academie voor Beeldende Kunsten -DKO- Gent verbonden zijn. Cêline Butaye (leerkracht Tekenkunst en Mixed Media), Isa D’hondt (student Mixed Media), Cindy Morlion (student Vrije Grafiek), Dieter De Lathauwer (oud-student Fotokunst) en Marnix Everaert (leerkracht Vrije Grafiek).

De keuze van de Gentse kunstenaars gebeurde door een Japanse jury, Een Gentse jury selecteerde de Japanse kunstenaars.

Van harte dank aan Lizzy Pauwels (directeur van de Academie) en Daan Rau (redacteur Openbaar Kunstbezit in Vlaanderen) voor hun enthousiasme en bijdrage aan dit gebeuren!