Artist statement
Evelyne de Behr’s practice unfolds at the intersection of disappearance, memory, and ecological vulnerability. Through subtle processes of abstraction, displacement, and material translation, she investigates how traces — spatial, chromatic, and corporeal — construct fragile forms of perception and mental memory.
Her work approaches painting not as a fixed medium, but as a spatial, temporal, and relational field, where images continuously shift, dissolve, and re-emerge. Drawing, installation, video, and sound are mobilized as interconnected dispositifs, generating sensitive environments that engage the body and activate attentive modes of seeing.
Manual gestures and tactile processes remain central to her practice, placed in dialogue with digital technologies, producing a tension between the hand, the body, and mediated perception. Within these unstable configurations, transformation and decay operate as both material and conceptual forces, shaping eco-physical and chromatic metamorphoses.
Her work ultimately questions our modes of presence and visibility, inviting viewers into a space of vulnerability where perception becomes a site of resonance, care, and shared fragility.
Biography
Evelyne de Behr is a Belgian visual artist based in Brussels. Her practice spans painting, installation, photography, archives, video, and exhibition-making, approaching artistic production as embodied and situated research. she explores representation as a situated and unstable process, constantly re-questioning her own position and visibility as an artist and as a woman. Her work conceives painting as a spatial, temporal, and relational dispositif rather than a fixed medium. Through material translations and exhibition formats, she constructs sensitive environments that activate perception, Her work has been widely exhibited in Belgium, notably at ISELP, Office d’Art Contemporain, CACLB, Maison des Arts de Schaerbeek, Musée de la Tapisserie, and La Médiatine, K9, and presented internationally at Jergon Studio (Berlin) and through the Drawing Art Center (New York, online). Her installations often conceive exhibition space as a sensitive environment shaped by lived experience and critical reflection. She has participated in numerous residencies in Belgium, France, Spain, and Portugal, frequently in dialogue with choreographic practices. In 2019, she co-created the permanent public sculpture Sans-Titre (Porte D) in Brussels. In 2023, she founded LOSANGE, an independent curatorial and research-based exhibition platform dedicated to feminist inquiry, alternative exhibition formats. She holds a Master’s degree in Cultural Management from ULB, where her academic research focused on gender politics in public art collections. She lives and works in Brussels.