Lies Caeyers (1982) lives and works in Ghent, Belgium. She is engaged in a process of ongoing empirical research, asking herself what art is – or could be – to her. She divides her work into different project groups, each group exploring a different angle.
Characteristic of her work are her references – sometimes concrete, sometimes discreet – to a number of explicit elements of our Western art history. In her search for different means of replication, Caeyers explores the notion of the unit vs. the multiple. The artist’s materialisation of the female body in this way offers an interesting perspective on the recurring phenomenon of the objectification of the female nude. The relationship to time is another essential element in the work of Lies Caeyers; she frequently experiments with the combination of modern applications with older, more traditional techniques and materials.
After completing a master’s degree at Sint Lucas, Antwerp, Lies Caeyers was invited to expand her experience with an additional master’s year at the Könstfack University of Art, Crafts and Design in Stockholm. In 2015 she held her first, fully-fledged exhibition, Kabinet, at her atelier in Ghent. Since then her work has been shown at Gouvernement in Ghent, at the Ghent’s Sorry, Not Sorry festival, at M Museum in Louvain, at the arts platform Zebrastraat in Ghent, at Kunstenfestival Watou and CC De Steiger in Menen. In the first half year of 2020, Lies Caeyers displayed a series of oil paintings in the St Bavo's Cathedral in Ghent, as part of an exhibition joint with Sophie Kuijken and Kris Martin, linked to the return of the recently restored central panel of The Ghent Altarpiece. Until the end of February 2021, her first retrospective was presented at Nationale 8 Gallery in Dilbeek.
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