Once depicted, objects and forms start addressing each other as equals. Lines, words, emblems hiding but their silhouettes. The drawings vainly carry their layers, show-off their trials and errors. They’re eulogies disinterested in pedestaling, testaments of a classless class, of ideology- free observing (if there were such a thing)—blatantly enjoying.
In the Euromillions drawings no pictorial distinction is made between a Tensoplast box, details of a Hermès piece or the frivolous aesthetic of medieval heraldry. Then again, the works are not proclaiming to cause a disruption in the ‘cultivated’ allures of aesthetic authorities. Forms now find their essence in attributing to the drawings’ ornamental play but, be that as it may, will always remember where they came from in the first place.
Preparing for this text, it was pleasantly frustrating to find a form of writing ‘tailored’ to these drawings, that would not simply resort to listing its components or describing the nature of their lines. It’s tempting and beautiful to articulate and indicate the ornamental dogs attached to transparent leashes, gates behind which no estates lurk but color panes, words overestimating the size of their frames or ‘villains’ exploiting the endearment of a pink purse. However, it is not just naming these anecdotal elements that guarantees understanding, just as it is not merely an arbitrary number on a ticket that assures a price. A promise just as hollow as the conviction that describing equals comprehension, is the idea that the anecdotal equals the banal. It’s doubtful that there’s a world to discover beyond the scenography of outdatedly hip brands, fading ornaments, fast-drawn figures, swirly syllables. Perhaps these drawings settle for the nonchalant acceptance that there is none?"
Claus was a resident at Cité International des Arts Paris (FR). She took part in various solo-and group shows; Claus exhibited at Synnika Space (Frankfurt,DE), Rufus Gallery (Ghent,B), Pizza Gallery (Antwerp,B), Nodenaysteen (Ghent,B), Red Herring Salon (Antwerp,B), LRRG (Deurne, B), Komplot (Brussels,B), The Wunderwall (Sofie Van de Velde & Plus One Gallery, Antwerp), Art Au Centre (Liège,B), Platvvorm (Deinze,B), Publiek Park by young friends of S.M.A.K (Ghent,B), Musée de la Boverie (Liège,B), 019 (Ghent,B), BLANCO (Ghent,B), ‘De Nieuwe Garde’; by Kunst in Huis, Zuiderspershuis (Antwerp,B) Campo Victoria (Ghent,B), Drawing Centre Diepenheim (Nl), Pleasure Island (Ostend, B) and Abc Klubhuis (Antwerp,B).
PROFILE
Ines Claus
°16/08/1993
°Antwerp (BE)
EDUCATION
MA Fine Arts (Drawing), KASK School of arts, Ghent with distinction (BE) (2015 - 2017)
BA Fine Arts (Drawing), KASK School of arts, Ghent with distinction (BE) (2012 - 2015)
Exchange program Erasmus at EBABX, Bordeaux, France (FR) (2014 - 2015)
PRESS/TEXT
Interview with Hilde Van Canneyt for solo 'Triple Cintre',Nodenaysteen, Ghent, 2024
https://www.hildevancanneyt.be/2024/02/01/interview-met-ines-claus/
The Artcouch magazine , ’Coup de coeur’, February edition 2023
Interview for Subbacultcha magazine ‘After hours’, February edition 2020:
https://subbacultcha.be/editorial/detail/ines-claus
PUBLICATIONS
see Claus Books
PRIZES AND RESIDENCIES
2022 Grant for Residency at Cité Internationale des Arts Paris (oct 2022 - feb 2023) (Fr)
2021 Grant from the Flemish Government, KIOSK Flanders
2020 Proximus Prize, Stimulans 20, Bubox, Kortrijk (BE)
2017 Selected for Drawing Prize Ronse #49, CC De Ververij, Ronse (BE)
2015 Second Prise ‘COLLAGE MINIMAL’, Kunstwerkt, Verbeke Foundations, Kemzeke (BE)