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Natasha Meersman

Contemporary figurative artist.

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As a silent observer she observes the world and the people around her and molds her findings through a unique visual language into a story that travels through the caverns of our emotional world.


'My images are often small and fragile in a world in which we have to present ourselves big and strong if we want to be part of it.  Everything has to go fast and that often makes life fleeting.

The endless need for more makes us drown in a fleeting multitude. That, while it is precisely the small that can touch in a much deeper way in all its subtlety, the slowness is meaningful and gives us time to deepen.'


Despite their often small size, the figurative sculptures leave an almost monumental impression that asks the viewer a moment to absorb them.

Each and every one of them is a balancing act between the consciously designed tension and the exploration of the limits of the natural materials with which the images are brought to life.

Staring into the thin air, silently into the distance, looking at infinity… As a spectator you can guess at the effective story behind the sometimes ambiguous characters, but you cannot ignore the 'human condition'.

The sometimes philosophical and sometimes humorous titles encourage suggestions on the part of the viewer.

'I depict stories from my own emotional world and I am intrigued by everything that takes place on the margins of our society…

Through the darkness of the underexposed side that looks at us like a gaping black plane, being the side of us that doesn't need a filter to take you straight into its darkness.

They are a look behind the scenes of the success story with which we are only too happy to display our human beings.

As an observer of my time, I want to arouse a feeling, without necessarily wanting to stamp that feeling in yet another pre-chewed box for those who experience it.'


The resignation and the deeply human melancholic feeling can be found in the strong expressions as well as in the manneristic attitudes, and they display a formal tension that suggests a substantive charge that we feel the need to fill in.

Haunting images that deafeningly silently wander into the dark depths of our existence and aptly display the wounds behind the embellished facades.

Fragile hard ceramics with which the artist brings the uncertainties of her time to the surface and thereby interacts with the viewer, who asks her to take her time in this fleeting world. 


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