WAITING ROOMS

2018 - 2019


Waiting rooms


Under this heading, the artist/painter questions the tradition and history of painting (fine arts). He uses for example exotic wallpaper as a cheap counterpart to the perception of painting that is experienced as elitist. 


This statement can be interpreted broadly conceptually; Criticism of the art market; criticism of the lack of craftsmanship in contemporary art; criticism of cheap consumer behavior in Western society or rather as an ironic image of the desire for better (own) prosperity. 


The playful composition is often literally layered, fot example (Cmine) through the combination of artworks on top of the wallpaper to make the question clearer. In addition, Boulet always refers to his own oeuvre, in which the idea of paradise is central. The palm tree functions as a trademark for his oeuvre. 


1. The waiting room, C-mine Genk. BE 

2. Royal Dutch Shell, Sub IV Utrecht. NL 

3. De Brakke Grond, Amsterdam. NL
4. KOP, Antwerpen. BE



2. Royal Dutch Shell, Sub IV Utrecht. NL


EuroArt / EuroArt / EuroArt / EuroArt /


A NEW BREED IS BORN, A BRIGHT FUTURE ARISES ON THE HORIZON

EURO ART TOP HOUSE TRASH MEET UP BETWEEN ANTWERP AND UTRECHT


FUTURE WILL BE REINVENTED
NO MORE NOSTALGIA

NO MORE HISTORY
ALL OUR DREAMS WILL FINALLY COME TRUE
HOPE TRUTH AND STARS

LETS COME TOGETHER AND CELEBRATE THE DAWN OF THE EURO


Babs Bleeker (NL)
Jorden Boulet (BE)
Jo Caimo (BE)
Jorge Guevara Larrotta (BE)
Ayrton Eblé (BE)
Caz Egelie (NL)
Martine Folkersma (NL)
Niels Goos (BE/NL)
Liselot Veenendaal (NL)
Bernardus Baldus (NL)
Wannes Missotten (BE)
Torri Nickmans (BE)
Rowan Van As (NL)
Sander Van Noort (NL)
EMP Cyanne Van den Houten (NL)
EMP Ymer Marinus (NL)
EMP Isa Van Weert (NL)
SJANG KABANG Mike Moonen (NL)
King Baxter (BE)
Burger Service ft. Hilke (NL)
Noblesse Noire (NL)


SUB IV
Jan Van Galenstraat 83, Utrecht

Sponsored by KF HEIN FONDS




In the past, Boulet played with similar conventions by using inflatable dolls and objects that he presented as ‘plastic sculptures'. With this he mainly wanted to question the commercial side and the sale of art as superficial products.

3. De Brakke Grond, Amsterdam. NL
4. KOP, Antwerpen. BE