All drawings are inspired by shapes from De Middeleir’s studio: casts, moulds, or pieces of existing sculptures. Casts of the human body become abstract forms that refer to a universe of their own.
You can buy an existing drawing, or order a personalized one with the colors, shapes and patterns of your personal preference.
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2020 – 180 x 35 x 35 – wax, colored wood and metal bolts
Pattern II appears at first sight to be an abstract pattern, but is composed of casts of the female collarbone. No distinction is made between postive forms and negative forms, casts and moulds are of equaly valued. The pattern spreads out over two bright yellow beams, plucked directly from a construction site. The hardness of the beams contrasts with the soft aspects of the human body, made out of wax.
With her sculptures, Lieze De Middeleir walks the boundary between image and reality. De Middeleir uses pieces of reality in her work in the form of casts, and by processing readymades. In this way the connection with reality is visualized, while at the same time the boundary between reality and work of art is blurred. As soon as someone notices the pieces of reality and links the meaning to them, it suddenly becomes clear that the universe of the artwork starts.
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White bodies n°2 (single piece) – 2020 – plaster
Pattern of White bodies – 2021 – acrylic resin and metal
White bodies n°2 transforms into Pattern of White bodies.
Pattern of White bodies in a public park in Brussels.
At first sight, De Middeleir’s works form an abstract pattern, but when you look closer, you discover parts of the human body. Pattern of white bodies is a continuation of two of her series: the Pattern series on the one hand and the White bodies series on the other. Abstract patterns in a playful composition are central to the Pattern series. This new sculpture travels around, just like White Bodies. Every environment can serve as a plinth and the composition can be reconstructed over and over again.
By using her own body as a reference for the human figure, Lieze De Middeleir on the one hand objectifies herself, but on the other hand takes the spectator along in a very personal story. Our human body changes constantly, so that her sculptures are a snapshot of the body. The transient nature of that snapshot again contrasts with the classical, solid character of a sculpture.
Pattern of White bodies in the Poortersloge in Bruges.
De Middeleir developed this installation especially for the art contest Input/Output.
The hexagonal shape of the scaffold brings the characteristic exterior of the historical building inside and refers to the typical tower of the Poortersloge.
2020 – plaster and metal
Sculptures and digital drawing
White bodies is a serie of traveling sculptures with the environment as plinth, uninvited in public space. Each space can serve as the pedestal, the composition can be reconstructed over and over again. A contrast between the steadfastness of the sculpture and the transience of the action arises. In that way sculptures, often regarded as static objects, acquire the same transience as the human body.
By using her own body as a reference for the human figure, Lieze De Middeleir objectifies herself on the one hand but, on the other hand takes the viewer into a very personal story. Our human body is constantly changing, the sculptures are a snapshot of the body.
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2019 – 180 x 45 x 45 – Plaster and metal
Pattern I shows an abstract pattern, made by casts of the male knee. It’s a sculpture that explores how the base construction can merge into the surrounding area. The outline almost becomes a drawing and functions as a blank canvas for a subtle projection.
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2018 – 60 x 40 x 40 – plaster and metal
This work appears as an abstract pattern, until you notice that it’s completely build with prints of the artists hands.
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2017- 2018 – 160 x 30 x 30 – Colored plaster and wax
The layers of colour and the vibrant base refer to a world of its own, until you discover the traces of the human body.
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2017 – 15 x 7 x 5 – wood and colored plaster
Construction is a little piece of the human body, held by a man-made construction.
But of course, also the human body is a construction of the artist.
2018 – 110 x 70 x 45 – Plaster and metal
Sculpture accompanied by a drawing on silk paper on a metal and plexiglass display.
Afdruk explores tactility. Fine lines, subtle colors and detailed shapes contrast with the hard iron construction.
2017 – 135 x 60 x 40 – Wax and colored plaster
The self-portrait changes from a trace, a mould to a corpulent form. Both the positive form and the negative form are a complete valued state of artwork. It seems as if self-portrait in its second phase only refers to itself, but the attentive observer discovers the footprints, which are a clear reference to the existing world.
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2016 – 175 x 80 x 60 – Metal, fabric and plaster
Self-portrait (stage I) is an interplay between sculpture and performance, it appears to be a construction waste bag with a mark of the human body. When does the process of creating become a work itself? How many traces of the human body are needed to recognize the past presence?
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2016 – 165 x 100 x 55 – Perforated metal sheet
The viewer can easily recognize a human covering himself with a blanket, at the same time you can feel the void.
The contradiction or dialogue rises at the level of meaning but also on the level of material.
This sculpture was realised at the university Burg Giebichenstein – Halle, Germany.
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2015 – Aluminium construction of a water barrier and wax and analogue photograph
With her sculptures, Lieze De Middeleir walks the boundary between image and reality. De Middeleir uses pieces of reality in her work in the form of casts, and by processing readymades, like the alumium construction of a water barrier. I this case, the human body is present in the analogue photograph.
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