The Green Door Gallery, Brussels : SMALL MATTERS

A Small Gesture

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Knot

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Two Benches

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Distance

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Encounter

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500 Years (after Van Eertvelt)

By david cass

oil & pencil on artist's box

h: 16 w: 29 d: 2 (cms).

In 2010–11, I lived briefly in Brussels. I'd visit the Jeu de Balle flea market most mornings, discovering surfaces – boxes, drawers, cards, wooden trunks – to paint onto. Since then, I’ve worked exclusively on (mostly small-scale) found objects. This piece depicts the sea, inspired by Van Eertvelt, reimagining a scene by the old master some 500 years later, amid rising sea levels and warming oceans. Like all my recent work, it subtly reflects on the changing state of our seas due to climate change. Painted predominantly in oil, it combines historic reference with contemporary environmental concern, using reclaimed materials to highlight the connection between past, present, and an uncertain future.

€980

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500 Years (after Van Eertvelt)

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A Memory

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Impression

By siobhan leonard BA(Hons)

Acrylic on canvas

h: 25 w: 20 d: 2 (cms).

This painting can a have a simple frame. But it works also on its own. Impression - An image ontop of an image. Also, an idea or feeling or effect produced by someone.

€350

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Impression

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Of the flesh

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Stippled

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All that remains

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a prelude to Kamui (V)

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a prelude to Kamui (VII)

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Claire

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After Work

By stephanie wright

silkscreen print

h: 27 w: 20 d: 1 (cms).

This is Bincy and her friend who I met in India. The 'Small Matters' is that despite them being finacially constrained they enjoy the everyday and their friendship after they finish work

€290

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After Work

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Pictland I

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Pictland XII

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Pictland III

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‘In the morning, the pilot arrives home and reclines on his couch to watch the news. He’s astonished when he sees all the rubble in the world, he’s thinking about buying a more comfortable seat.’

‘In the morning, the pilot arrives home and reclines on his couch to watch the news. He’s astonished when he sees all the rubble in the world, he’s thinking about buying a more comfortable seat.’

By RAAU -

oil

h: 18 w: 13 d: 1 (cms).

-

€550

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‘In the morning, the pilot arrives home and reclines on his couch to watch the news. He’s astonished when he sees all the rubble in the world, he’s thinking about buying a more comfortable seat.’

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‘The working title of this painting was WTF-35/XS. It reflects on how the world leaders facilitate the passage of all the tiny spare parts – and how no one dares to mention history.’

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‘“What a pity about the stains,” the doctor said. On the other hand, a friend of mine liked it precisely because of the splatter. “Life is not only the blossom. People starve other people to death,” he insisted.’

‘“What a pity about the stains,” the doctor said. On the other hand, a friend of mine liked it precisely because of the splatter. “Life is not only the blossom. People starve other people to death,” he insisted.’

By RAAU -

oil

h: 16 w: 21 d: 1 (cms).

€575

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‘“What a pity about the stains,” the doctor said. On the other hand, a friend of mine liked it precisely because of the splatter. “Life is not only the blossom. People starve other people to death,” he insisted.’

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Little Things

By doris smeyers

Oil

h: 19 w: 29 d: 2 (cms).

In het schilderij De kleine dingen ontvouwt zich een intiem moment dat tegelijk universeel en tijdloos aanvoelt. Centraal staat een vrouw, half zichtbaar achter het glas van een beslagen douchewand. Druppels water glijden traag over haar huid, als sporen van een weldaad die haar even losmaakt van de wereld daarbuiten. Het werk ademt vrouwelijkheid, maar zonder stereotype. Hier geen fragiele schoonheid, maar een krachtige vorm van kwetsbaarheid. In deze alledaagse handeling vangt de kunstenaar een wereldbeeld waarin de mens – en vooral de vrouw – zoekt naar rust in een tijd die raast als een mallemolen. Buiten het kader woedt de tijdsgeest: oorlog, onrust, versnelling. Binnenin is er stilte. De douche wordt een toevluchtsoord, een stil protest tegen het lawaai van de wereld.

€750

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Little Things

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Closed Eyes

By doris smeyers

Oil

h: 20 w: 20 d: 2 (cms).

In this small, understated painting, a still portrait rests: the face hidden, the eyes closed—not from sleep, but from choice. It is a moment of retreat, a conscious act of closing oneself off from the outside world. Behind the closed eyelids, a soft fire glows, not visible but tangible: the inner focal point where feelings, thoughts, and memories merge. In dit kleine, ingetogen schilderij rust een stil portret: het aangezicht verborgen, de ogen gesloten — niet uit slaap, maar uit keuze. Het is een moment van terugtrekking, een bewuste daad van zich afsluiten van de buitenwereld. Achter de gesloten oogleden gloeit een zacht vuur, niet zichtbaar maar voelbaar: het innerlijk brandpunt waarin gevoelens, gedachten en herinneringen samenvloeien.

€400

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Closed Eyes

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a lippy selfie

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Brassica 2

By ted green

oil, acrylic and spray paint on canvas

h: 25 w: 30 d: 2 (cms).

The manufacturers' names of all six colors of oil paint used were selected from the "pigment lottery", a pool of approx. 55 colors at hand in the studio. One color at a time was blindly selected. From this initial list of 6 colors I allowed myself to, if I chose, replace one color by selecting 3 others at random, and then choosing one of those three to complete the palette of 6 oil colors. In this way I allow chance to play a considerable role in the composition of the painting, while still retaining a semblance of control. A handwritten and signed slip of paper with the names of the colors is attached to the back of the lower stretcher bar.

€900

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Brassica 2

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Brassica 1

By ted green

oil, acrylic and spray paint on canvas

h: 25 w: 30 d: 2 (cms).

The manufacturers' names of all six colors of oil paint used were selected from the "pigment lottery", a pool of approx. 55 colors at hand in the studio. One color at a time was blindly selected. From this initial list of 6 colors I allowed myself to, if I chose, replace one color by selecting 3 others at random, and then choosing one of those three to complete the palette of 6 oil colors. In this way I allow chance to play a considerable role in the composition of the painting, while still retaining a semblance of control. A handwritten and signed slip of paper with the names of the colors is attached to the back of the lower stretcher bar.

€900

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Brassica 1

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Brassica 3

By ted green

oil, acrylic and spray paint on canvas

h: 25 w: 30 d: 2 (cms).

The manufacturers' names of all six colors of oil paint used were selected from the "pigment lottery", a pool of approx. 55 colors at hand in the studio. One color at a time was blindly selected. From this initial list of 6 colors I allowed myself to, if I chose, replace one color by selecting 3 others at random, and then choosing one of those three to complete the palette of 6 oil colors. In this way I allow chance to play a considerable role in the composition of the painting, while still retaining a semblance of control. A handwritten and signed slip of paper with the names of the colors is attached to the back of the lower stretcher bar.

€900

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Brassica 3

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Way Mark series 4

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Way Mark series 5

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Way Mark series 6

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Self Portrait (VanGogh)

By beverly strom bluth

Oil on canvass

h: 30 w: 30 d: 2 (cms).

This painting is one of 10 oil paintings from my VanGogh Series created during a period ending in 2024, when I abandoned color for a monochromatic palette. I discovered the beauty of mixing my own grays with opposing colors to achieve maximum tonal contrast, coupled with textural handling to energize my subjects. Scaling down VanGogh to a square picture plane absent of his iconic colors, for me, exemplifies that Small Matters.

€600

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Self Portrait (VanGogh)

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On the Threshold of Eternity

By beverly strom bluth

Oil on canvass

h: 30 w: 30 d: 2 (cms).

This painting is one of 10 oil paintings from my VanGogh Series created during a period ending in 2024, when I abandoned color for a monochromatic palette. I discovered the beauty of mixing my own grays with opposing colors to achieve maximum tonal contrast, coupled with textural handling to energize my subjects. Scaling down VanGogh to a square picture plane absent of his iconic colors, for me, exemplifies that Small Matters.

€600

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On the Threshold of Eternity

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A Neurotic With Obsessive Tendencies

By michael hayter

Linocut print with oil-based printing ink on watercolour paper

h: 14 w: 10 d: 1 (cms).

A limited edition (1/100) linocut print based on the description I was given, when I requested a diagnosis from the psychoanalyst I was seeing at the time. There are times when I sit back and glow in its reflected warmth. The crucifix refers to the words a monk said, when, in a TV interview, he was asked how he would be if he hadn't followed a religious life. He thought for a while and said: "a neurotic, I suppose!" This print is available in black or red, or a combination of both.

€300

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A Neurotic With Obsessive Tendencies

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“Trompe-l’œil” no 1

By veva mertens GHJM

Braille paper / pigment /acryl

h: 30 w: 25 d: 1 (cms).

The work explores the medium as a carrier of meaning. Are colour, material, texture, tactility sufficient as stand-alone carriers of meaning? Or does the addition of language/word imposes itself? With this with work on braille paper, I seek to establish a channel of means of communication between seeing and not able to see, between touching as a means of communication and color as a language. What is the relevance of the concept of blind spots ? Even of we cannot see anything in that blind spot, our brain try to fill in this “gap”. Trompe-l’œil blurs boundaries.

€120

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“Trompe-l’œil” no 1

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“Trompe-l’œil” No 2

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“Trompe-l’œil” No 3 ( triptych)

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I_s 43

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I_s 57

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Wrapper 1

By flora robertson

Photocopy and pencil on paper

h: 21 w: 29 d: 1 (cms).

Part of a series of drawings of plastic (Lego) wrappers. Underpinning my practice is an interest in the mental processes by which we construct an understanding of reality. These drawings consider the way in which, as part of this process, we arbitrarily attribute value to certain things over others. I photocopy the plastic wrapper and draw into the image. The boundary between real and fabricated is blurred: neither photocopy nor drawing is more faithful to the original 3D object as the other since both processes artificially flatten and abstract. And in any event where does one process end and the other begin? In these drawings I draw attention to the beauty and fascination that can be found even in discarded and apparently worthless objects as they interact with the physical world through, for instance, their refraction of light. The small things are as much a part of the fabric of our reality - and are capable of enriching it as much, if we pay attention - as the large.

€295.00

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Wrapper 1

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Wrapper 2

By flora robertson

Photocopy and pencil on paper

h: 21 w: 29 d: 1 (cms).

Part of a series of drawings of plastic (Lego) wrappers. Underpinning my practice is an interest in the mental processes by which we construct an understanding of reality. These drawings consider the way in which, as part of this process, we arbitrarily attribute value to certain things over others. I photocopy the plastic wrapper and draw into the image. The boundary between real and fabricated is blurred: neither photocopy nor drawing is more faithful to the original 3D object as the other since both processes artificially flatten and abstract. And in any event where does one process end and the other begin? In these drawings I draw attention to the beauty and fascination that can be found even in discarded and apparently worthless objects as they interact with the physical world through, for instance, their refraction of light. The small things are as much a part of the fabric of our reality - and are capable of enriching it as much, if we pay attention - as the large.

€295.00

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Wrapper 2

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Teasels

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These days I think are so strange I

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Natures' strays

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Space Between

By ann kavanagh

Carborundum Mono print

h: 15 w: 15 d: 1 (cms).

Mono print using Pegt and carbonundum oil inks printed on hahnemuhle paper, a new series made while on residency at Zea Mays USA. I am mounting it on birch plywood, rather than framing which can be added later if required

€200.00

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Space Between

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Sheet from the project Colored Paper Works / Moving Relief - Work No. 7251

By Gabriela Stellino

paper work - three-dimensional paper work & watercolor

h: 30 w: 25 d: 6 (cms).

Colored Paper Works / Moving Relief These works flow from the surface into the spatial dimension. Delicate pieces emerge with small and large spirals. The play of shadows completes the image and shifts depending on the light. Hanging Instructions The sheets are hung on the wall using four flat nails and four small white magnets. The nails are not fully inserted into the wall, leaving a gap of about 3–4 mm of air between the wall and the sheet. This material will be sent along with the artworks.

€450

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Sheet from the project Colored Paper Works / Moving Relief - Work No. 7251

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2. Sheet from the project “Schiribizzi,” Work No. 6635

By Gabriela Stellino

paper work - cut relief & watercolor

h: 30 w: 25 d: 1 (cms).

Schiribizzi - cut relief & watercolor The series presents cut works in a small format. A relief emerges. The cuts create space for the color, which is added selectively. The color generates a special kind of magic. The color—opaque, washed, accidental, mismatched, or faded, like a vague memory. The time that lingers on the paper. The time of doing. The time of a brushstroke… Note: This series is normally painted on both sides, as a way of preparing the palette. However, only one side is shown (the one photographed). Hanging Instructions The sheets are hung on the wall using four flat nails and four small white magnets. The nails are not fully inserted into the wall, leaving a gap of about 3–4 mm of air between the wall and the sheet. This material will be sent along with the artworks.

€400

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2. Sheet from the project “Schiribizzi,” Work No. 6635

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3. Sheet from the project “Tagesfarben“ Day Colors - Work No. 6160

By Gabriela Stellino

Paperwork - Collage & Watercolor

h: 30 w: 30 d: 1 (cms).

Tagesfarben - Day Colors The composition sometimes builds itself upon just a single color note, sometimes from various sheets. This makes the search for unity more difficult, but also more interesting. I am interested here in chromatic correspondences. How surprisingly precise a small touch of color can be. How color reacts… The different ways of reading an image: through the repetition of colors… through contrasts… through pauses... Hanging Instructions The sheets are hung on the wall using four flat nails and four small white magnets. The nails are not fully inserted into the wall, leaving a gap of about 3–4 mm of air between the wall and the sheet. This material will be sent along with the artworks.

€400

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3. Sheet from the project “Tagesfarben“ Day Colors - Work No. 6160

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Red Dust

By ronny broeckx

acrylic & spray paint on canvas

h: 30 w: 25 d: 1 (cms).

In my work I am always looking for images that are somewhere between the abstract and the recognizable. In search of an inner reality, a kind of intermediate image that arises from flashing thoughts and impressions. I don't focus on a particular thing, but let my thoughts run free. Applying layer after layer, wet in wet or thin over thick, then rough and wild, in this way I try to admit different emotions and experiences in one piece. As a result of these changes, it wil finally make the story. In this way I try to test my limits and a new reality is created in which the viewer can also write his own story. That is why titles are usually a starting point, but not imperative.

€600

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Red Dust

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Green Mist

By ronny broeckx

acrylic & spray paint on canvas

h: 30 w: 25 d: 1 (cms).

In my work I am always looking for images that are somewhere between the abstract and the recognizable. In search of an inner reality, a kind of intermediate image that arises from flashing thoughts and impressions. I don't focus on a particular thing, but let my thoughts run free. Applying layer after layer, wet in wet or thin over thick, then rough and wild, in this way I try to admit different emotions and experiences in one piece. As a result of these changes, it wil finally make the story. In this way I try to test my limits and a new reality is created in which the viewer can also write his own story. That is why titles are usually a starting point, but not imperative.

€600

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Green Mist

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Rock Sculpture I (Japan, Spain, France, Portugal, USA, Belgium)

By Andrea Rees

UltraChrome K3 pigment ink on cotton - Series of 9

h: 20 w: 15 d: 1 (cms).

I collect small rocks. Whenever friends travel, I ask them to bring back a wee bit of the country they’ve visited. And it always fascinates me to see that while they look different, they are also fundamentally the same. Just like us. No matter where we’re from, we’re also fundamentally the same too. And down through the ages, through different cultures, stacked rocks have meant so much. They have served as navigation aids, symbolized spiritual journeys, marked sacred spaces, and honored those we have lost.

€100

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Rock Sculpture I (Japan, Spain, France, Portugal, USA, Belgium)

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Rock Sculpture II (Italy, Canada, Finland, France, Portugal)

By Andrea Rees

Ultra Chrome K3 pigment inks on cotton - series of 9

h: 20 w: 15 d: 1 (cms).

I collect small rocks. Whenever friends travel, I ask them to bring back a wee bit of the country they’ve visited. And it always fascinates me to see that while they look different, they are also fundamentally the same. Just like us. No matter where we’re from, we’re also fundamentally the same too. And down through the ages, through different cultures, stacked rocks have meant so much. They have served as navigation aids, symbolized spiritual journeys, marked sacred spaces, and honored those we have lost.

€50

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Rock Sculpture II (Italy, Canada, Finland, France, Portugal)

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Main Street

By Hilde Goossens

Acrylics on paper on a panel, finished with a matted epoxy

h: 30 w: 25 d: 2 (cms).

Notes from Crete presents a painted travel journal where colour and suggestion evoke holiday memories, but where contradictions and signs of neglect also linger. This is just one of the 11 paintings in this series. This Main Street is not as grand as the title would expect.

€550

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Main Street

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Cropped Punk N°1

By piv .

Acrylic on wood

h: 30 w: 30 d: 3 (cms).

As a digital artist and painter, much of my work is inspired by CryptoPunks, the 2017 pixel art project that has become a cultural icon. The proposed work, Cropped Punk, is rooted in pixel art but departs from the clear figuration of the originals. By isolating and cropping a fragment, the image loses recognizability as a portrait and begins to verge on geometric abstraction. The use of paint on wood further distances it from its digital origins, emphasizing material qualities such as brushwork and subtle shifts in color absent from the file. This process resonates with the theme of Small Matters. CryptoPunks are pixel art, arguably the smallest possible form of digital art — both in scale and in file size — making them ideally suited for blockchain storage. Cropped Punk pushes this further: a cropped fragment of an already minimal image, reflecting on scale, compression, and how meaning persists when digital immateriality is translated into physical form.

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Cropped Punk N°1

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Into the Green

By beverley johnson

Print on paper mounted on wooden panel

h: 25 w: 20 d: 2 (cms).

This is a hand-made Gelli print consisting of several layers of printing, which add depth and mystery to the artwork. It's about the small, fragile elements of nature that enrich our lives and environment. As you look at it, you feel like you are peering into a deep pool or at a patch of foliage in a shady corner of the woods.

€360

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Into the Green

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In a quiet corner of the garden

By beverley johnson

Print on paper mounted on wooden panel

h: 15 w: 15 d: 2 (cms).

I was walking round our garden on a warm summer day when I came across this beautiful plant that had set itself in an overlooked corner. Called Red-Osier Dogwood, it is native to North America. Nevertheless it seems to feel at home in our garden in Belgium. I love how nature thrives when given a little space. Small finds like this bring me great pleasure, and the Gelli print I made of the plant has a fresh, leafy appeal.

€240

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In a quiet corner of the garden

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Deckchair 1

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cribbles 1

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cribbles 2

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cribbles 3

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Autumn landscape

By irina smirnova

Oil on board

h: 8 w: 11 d: 1 (cms).

I love working on the plain air and painting landscapes from nature. The vibrations of nature are in tune with vibrations of my soul, and can be read in the painting.

€250.00

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Autumn landscape

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Village way

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Evening in Devon

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Road to Sart Tilman

By elena burcio alonso

Oil painting

h: 16 w: 20 d: 1 (cms).

Oil painting on paper. This oil painting captures a quiet moment in early spring on the greenish-blue hills along the road to Sart-Tilman, near Liège. Warm sunlight returns after winter, gently illuminating the landscape. The work reflects the transition of seasons and the calm beauty of nature's renewal.

€380

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Road to Sart Tilman

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A Little Love

By iluá hauck da silva MA

Glass and porcelain

h: 14 w: 14 d: 5 (cms).

I make the glass hearts in my kiln using the microcasting technique and I use vintage china saucers from charity shops to both support charities and to recycle old objects in a bid to be more eco-friendly. In this case I am submiting a green heart because you are the Green Door Gallery :) If selected for the physical show, I will post it to Brussels with a metal hanging device attached (a simple nail on the wall is sufficient to hold it on the wall). The small anatomical glass hearts I make are always a symbol of love, which I believe is the antidote to current world problems - more love for each other, for nature, for peace.

€350

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A Little Love

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Deckchair 2

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The Shapeshifter

By Svenja Michelle Behle

Screen Print and Ink Painting on Mounted Canvas Board

h: 20 w: 20 d: 5 (cms).

The Print and Ink piece on Canvas board sits on a burgundy wooden frame. I worked with iridescent inks so the background has a blueish hue with the light incidence angle.

€239

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The Shapeshifter

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Self

By margo mcnulty

oil on canvas

h: 30 w: 30 d: 1 (cms).

From a series of self-portraits based on polaroid photographs In a time when global crises can feel overwhelming, I turn inward to focus on the smallest yet most essential unit of change: the self. This series of self-portraits reflects on the role of the individual within the larger collective, and how small acts of attention, care, and reflection can ripple outward.

€1000.00

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Self

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Self1

By margo mcnulty

oil on canvas

h: 30 w: 25 d: 1 (cms).

From a series of self-portraits based on polaroid photographs In a time when global crises can feel overwhelming, I turn inward to focus on the smallest yet most essential unit of change: the self. This series of self-portraits reflects on the role of the individual within the larger collective, and how small acts of attention, care, and reflection can ripple outward.

€1000.00

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Self1

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Coffee Among the Morning Glories

By patricia clendening buzzerio MA Ed.

Oil Bars & Oil Paint

h: 30 w: 30 d: 5 (cms).

Coffee Among the Morning Glories is a small precious moment of calm before the hectic day begins. Where can we find our moments of solitude that sustain us in these trying time of chaos?

€300

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Coffee Among the Morning Glories

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Garage Fashion

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Pivoines III

By nicolò de paoli

Oil on wood panel

h: 20 w: 25 d: 1 (cms).

This small-format still life, an oil painting on wood board, is part of a series depicting cut peonies. Uprooted from their original soil, the flowers are offered to another space, another time: they become displaced fragments of nature, objects of contemplation that are both present and already absent. They evoke the way a memory reinvents itself with each gaze, like the recollection of a place that transforms and deepens over time. The painting explores how light and pictorial matter can convey an intimate, almost silent memory through the depiction of everyday scenes.

€300

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Pivoines III

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Pivoines IV

By nicolò de paoli

Oil on wood panel

h: 20 w: 25 d: 1 (cms).

This small-format still life, an oil painting on wood board, is part of a series depicting cut peonies. Uprooted from their original soil, the flowers are offered to another space, another time: they become displaced fragments of nature, objects of contemplation that are both present and already absent. They evoke the way a memory reinvents itself with each gaze, like the recollection of a place that transforms and deepens over time. The painting explores how light and pictorial matter can convey an intimate, almost silent memory through the depiction of everyday scenes.

€300

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Pivoines IV

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Pivoines II

By nicolò de paoli

Oil on wood panel

h: 20 w: 25 d: 1 (cms).

This small-format still life, an oil painting on wood board, is part of a series depicting cut peonies. Uprooted from their original soil, the flowers are offered to another space, another time: they become displaced fragments of nature, objects of contemplation that are both present and already absent. They evoke the way a memory reinvents itself with each gaze, like the recollection of a place that transforms and deepens over time. The painting explores how light and pictorial matter can convey an intimate, almost silent memory through the depiction of everyday scenes.

€300

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Pivoines II

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Second Impression

By bridget lane

Handwoven tapestry with tufting

h: 26 w: 26 d: 2 (cms).

Based on the everyday, this work is a response to the seemingly mundane, a way of reinterpreting the familiar world around us. Seen through a different lens, the small hidden gems that we often oversee are transformed and given a new sense of life, of structure and colour.

€745

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Second Impression

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toy with striped pot

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Made In China 38

By spencer glover

Archival pigment print on Hahnemuhle paper

h: 30 w: 20 d: 1 (cms).

The phrase Made in China is synonymous with cheap mass production, the reduction of national manufacturing and now with Trump’s Chinese virus outbursts. I have composed these still lifes using only items Made in China. These are cheaply manufactured goods, made in Chinese factories and imported in bulk by the truck load - bought in the Euro shop, but presented as rich gilded trophies - the perishable delicacies and unique objects of luxury - typically showcased in traditional 16th Century Dutch and Flemish genre paintings. In the past, these highly detailed ‘Vanitas’ still life paintings captured the most valuable possessions. These Dutch Still Lifes were regarded as parables of time - illustrating rotting fruit and flowers and presenting moral lessons about vanity, the pursuit of worldly goods, and the certainty of death. But my still lifes do not age, they are plastic; stuffed animals; fake flowers and foods.

€295

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Made In China 38

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Prudence ou la nuit

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Melancolie

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Pollen

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Hidden 1

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Hedgerow finds

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Intricate Threads They Weave

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All I want in life is for someone to gently place a cooling, damp cloth on me in 40 degree heat

By perrine davari

oil on linen

h: 20 w: 20 d: 4 (cms).

This painting was inspired by a summer’s day in London, when a gentleman stepped onto the tube with his two small dogs. There’s always something quietly joyful about seeing animals on public transport, but this particular moment lingered with me - perhaps because of the striking contrast in size between the owner and his pets. After settling in, the man gently draped a damp cloth over his French Bulldog to help it cool down. There was tenderness in his gesture. The dogs, completely at ease, lay curled beside his feet - a domestic scene yet unfolding in a public space. That small act of care, in the middle of a sweltering 40-degree day, felt deeply human and that of everyday happiness. In that moment I thought: that’s all I want in life, for someone to gently place a cool, damp cloth over me in 40 degree heat.

€680

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All I want in life is for someone to gently place a cooling, damp cloth on me in 40 degree heat

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Self Portrait

By ruxandra dontu RD

Oil on Wood

h: 23 w: 23 d: 3 (cms).

Painted with deliberate stillness, this self-portrait confronts the viewer not through expression, but through refusal. The downward gaze and tightly held mouth suggest a quiet autonomy — a resistance to being read. Framed tightly and composed with tonal restraint, the work explores the edges of visibility and self-possession. What remains unsaid becomes the source of its tension.

€1250

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Self Portrait

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The Beauty and Transience of Life (01)

By Tine Brouw

Gouache

h: 19 w: 14 d: 1 (cms).

"The Beauty and Transience of Life" is a series of small works that emerged from a confrontation with the impermanence of life, relationships, and emotions — and how accepting that everything is transient can hold both beauty and a sense of peace. The work is painted on an antique print of an animal dissection.

€650

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The Beauty and Transience of Life (01)

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Self Portrait 2

By ruxandra dontu RD

Oil on Wood

h: 19 w: 19 d: 3 (cms).

This small-format oil painting captures a fleeting, sideward gaze — understated yet resolute. The muted palette, anchored in cool greys and blues, reinforces the emotional restraint of the composition. Rather than confront the viewer, the subject withdraws, creating a subtle tension between presence and distance.

€1100

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Self Portrait 2

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Held Intact

By ruxandra dontu RD

Oil on Wood

h: 30 w: 21 d: 3 (cms).

This work explores the tension between external poise and internal containment. The figure’s posture and gaze suggest detachment, but also the effort of self-preservation — as if identity is being kept whole beneath the surface. The thick, gestural strokes of the garment contrast with the delicately rendered face, accentuating the duality between protection and vulnerability. Held Intact captures the quiet yet fierce insistence of remaining oneself.

€1450

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Held Intact

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The Jar II

By Tine Brouw

Gouache

h: 15 w: 9 d: 1 (cms).

This is the re-interpreted version of The Jar. It is painted on an antique print of an unusual work by the Dutch botanist and anatomist Frederik Ruysch, who developed a technique for preserving specimens. What made him so remarkable was that he decorated the jars in which he kept the animals, turning them into small works of art. The original jars no longer exist. My work is a delicate homage to a man who, through science and art, captured the fleeting essence of beauty in glass.

€500

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The Jar II

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The Jar

By Tine Brouw

Gouache

h: 15 w: 9 d: 1 (cms).

The Jar is painted on an antique print of an unusual work by the Dutch botanist and anatomist Frederik Ruysch, who developed a technique for preserving specimens. What made him so remarkable was that he decorated the jars in which he kept the animals, turning them into small works of art. The original jars no longer exist. My work is a delicate homage to a man who, through science and art, captured the fleeting essence of beauty in glass.

€500

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The Jar

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The Light Side of Darkness

By Peggy Cozzi MFA

Oil on canvas

h: 25 w: 20 d: 1 (cms).

My work explores a parallel between physical and psychological environments , finding a connection between the exterior and the interior world of emotion , memory and association. I am interested in how the medium of paint can evoke imaginative responses and psychological states ; through my interaction with the materials , I follow a journey with the painting to a point where colour and mark begin to trigger emotive associations , where the paint appears at once tactile and concrete yet simultaneously having the potential for illusion and the capacity to draw on the unconscious .

€400

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The Light Side of Darkness

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Apart

By janien prummel

Collage on bookboard

h: 21 w: 13 d: 1 (cms).

This collage is composed of many small pieces, remnants of paper and fabric from books. I deconstruct books and incorporate all the various elements into abstract collages. This collage is made on the cover of an old book. Compositionally, the square recurs here in various ways. Many small pieces make up one square, there is the ‘empty’ square and then that one small square in the corner. It seems to be looking at the square below from the corner of its eye. In my opinion, it is precisely the distance between that one small square and the large one that is the essence of this work. The question is....Does it want to belong? Or has it broken away?

€350

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Apart

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The Dark Side of Light

By Peggy Cozzi MFA

Oil on canvas

h: 25 w: 20 d: 1 (cms).

My work explores a parallel between physical and psychological environments , finding a connection between the exterior and the interior world of emotion , memory and association. I am interested in how the medium of paint can evoke imaginative responses and psychological states ; through my interaction with the materials , I follow a journey with the painting to a point where colour and mark begin to trigger emotive associations , where the paint appears at once tactile and concrete yet simultaneously having the potential for illusion and the capacity to draw on the unconscious .

€400

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The Dark Side of Light

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Out of line

By janien prummel

Collage on bookboard

h: 21 w: 13 d: 1 (cms).

Even the tiniest scraps of paper and fabric hold great beauty for me. In this collage, I give them a place and space. All beautifully arranged in a row. They radiate order and tranquility. What happens when one piece is slightly out of place? It is the small actions and deeds that make the difference. Both in a composition and in real life. In these times when grand gestures and actions sometimes overwhelm or frighten me, it is precisely the small gestures that are meaningful and give hope.

€375

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Out of line

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Of the Rolling Earth I.

By pauline hall BA, MA

Oil on gesso board

h: 20 w: 20 d: 5 (cms).

This painting forms one part of a series of work painted on site in the community garden close to where I live in East London, making studies of the contents of flower pots and containers in the garden as Spring gradually breaks through and reveals itself. I love the idea that we don't have to have a lot of space to enjoy nature, particularly in an urban context; living in a flat for example. So much can be revealed about the living world by just growing things in a simple container. The Canal Club Community Garden has provided a context to bring ideas together, partly motivated by the need to save the space from redevelopment but also illustrating a wider need to protect our precious wild and green environments.

€572

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Of the Rolling Earth I.

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Of the Rolling Earth II.

By pauline hall BA, MA

Oil on gesso board

h: 20 w: 20 d: 5 (cms).

This painting forms one part of a series of work painted on site in the community garden close to where I live in East London, making studies of the contents of flower pots and containers in the garden as Spring gradually breaks through and reveals itself. I love the idea that we don't have to have a lot of space to enjoy nature, particularly in an urban context; living in a flat for example. So much can be revealed about the living world by just growing things in a simple container. The Canal Club Community Garden has provided a context to bring ideas together, partly motivated by the need to save the space from redevelopment but also illustrating a wider need to protect our precious wild and green environments.

€572

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Of the Rolling Earth II.

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Belgitude 1

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Belgitude 2

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Belgitude 3

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Of the Rolling Earth III.

By pauline hall BA, MA

Oil on gesso board

h: 20 w: 20 d: 5 (cms).

This painting forms one part of a series of work painted on site in the community garden close to where I live in East London, making studies of the contents of flower pots and containers in the garden as Spring gradually breaks through and reveals itself. I love the idea that we don't need to have a lot of space to enjoy nature, particularly in an urban context; living in a flat for example. So much can be revealed about the living world by just growing things in a simple container. The Canal Club Community Garden has provided a context to bring ideas together, partly motivated by the need to save the space from redevelopment but also illustrating a wider need to protect our precious wild and green environments.

€572

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Of the Rolling Earth III.

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Glass. Water. Light.

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