About

The last few decades have been marked by a new consciousness, awakened like an elephant in the glass stores of our capitalist society as a result of the global economic and environmental crisis. We are vulnerable, not forever young, not forever pretty, not forever powerful. Nature is fragile, and once the balance is destroyed, it will inevitably hit us back. We awake, nothing is forever. Is life indeed a cycle? Each individual realizes that he is somewhere in that cycle, between that beginning with birth and the end that will surely come but does not reveal its secrets. And one day, suddenly the time has come, unexpectedly.

The work of Ilse Van Roy depicts this intermediate stage, in which we all are ‘in Between’ these phases, always uncertain, on the edge of the abyss, vulnerable forever, to all eternity. The thin glass sphere, not in the centre of the pedestal but on the edge, ready to fall, maybe now, maybe tomorrow. But even like a transparent foetus in a clear bubble that just does not burst open. Maybe the glass should finally break to liberate us again. And then a picture of an elderly lady in black and white, from times long past, it seems. Or is that just the future that awaits us ? Where are we? On a picture, in two dimensions, as a memory in a frame on the wall, or rather on the edge as a three-dimensional being in a fragile illusion? Again ‘in Between’, Ilse seems to say. Eventually, this installation does not want to show the viewer where he or she is in this erratic cycle. Silently it whispers something we have to dwell on every now and then: ‘Memento Mori’... remember that you will die. Wayn Traub, December 2012

  • Exhibition view - Muzeum L, Roeselare BE

  • Insitu work at National Glass Museum Leerdam (NL)

    “Ilse Van Roy is not limited to one material or one art discipline. She is therefore not an artist to be pigeonholed. But sometimes she just dominantly pigeonholes herself, in order to stimulate you to look at art in a different way.
    The subject of ‘glass’ in this work is the greenhouse itself, period. The floor with its ‘white’ bathroom tiles isolates this glass pigeonhole from its surroundings. The greenhouse becomes something abstract. At the same time the clean tiles ‘turn into’ various shades of yellow.
    This way they enter into battle with the (in)comprehension of aesthetics: what is art? what is beautiful? what is pure?”
    Arend-Jan Weijsters (1961), director of the National Glass Museum Leerdam (NL)

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