Residency

Elisheva Revah Born in 1991, lives and works in Tel Aviv.

 Born and raised in the Judah Mountains of Israel, Elisheva grew up surrounded by nature, art, and spirituality. Her parents, both artists, chose an unusual lifestyle going back to a slower way of living, practicing art and spiritual Judaism. Her work is influenced by ancient art, using symbols and myths from different cultures to explore the processes of womanhood and the perceptions of femininity.

Elisheva’s performative work navigates into a lost collective memory of ritual, worship, and transcendental practices, drawn from ancient cultures such as the Berber Moroccan trans or the Sufi dervish whirling.

Trained as a professional dancer, her creative research and artistic process strive to be an embodiment of the body, channeling its power, and remodeling its perception.

Kasper De Vos Born in 1988, lives and works in Ghent, Belgium.

In his studio, Kasper De Vos' collages, drawings, and sculptures built a colorful and rather uncanny environment where vibrant imaginary landscapes were deeply rooted down by everyday absurdities. A visual storyteller, De Vos utilizes serendipity, surprise and salvaged social remnants as key elements in his process. Materials and ideas are gathered on the natural route of any given day, and classical sculptural forms (such as base, bust, and body) are incorporated into odd combinations of contemporary throwaways.

Julien Saudubray Born in 1985, lives and works in Brussels, Belgium. 

Saudubray's practice is rooted in a broad experimentation with the parameters that define painting as an autonomous artistic medium. Rather than accepting the rigid notions, juxtapositions and categorisations that constitute the canon of painting, his work is fuelled by an interest in blending abstraction, figuration and the objectivity of painting. In doing so, he sees himself as an artist, approaching the concept of painting from a distance, rather than as a pure-blooded painter.

His interest lies in the process of creating images, rather than in the image itself. By disassociating himself from his technique, he interprets it as a set of mechanical gestures: the seemingly disembodied experience of painting from left to right on a predefined format is something Saudubray observes as he performs.