MUTABLE
MUTABLE explores transformation as latent possibility—the inherent capacity of matter, nature, body and meaning to exceed their existing forms and acquire new states.
Across the exhibition, transformation emerges through natural processes, intervention and reinterpretation of matter: matter reacts and transforms, landscapes are translated into new forms, bodies become sites of transition, and images collect altered meanings.
Rather than presenting transformation as a destination, MUTABLE considers mutability as a state of openness: the perpetual possibility of becoming otherwise.
MANAMA
Manama’s practice embodies MUTABLE through the transformative potential of matter. Working with natural pigments, metal, oxidation and corrosion, she initiates processes whose final outcome cannot be fully predetermined, allowing material transformation to become integral to the work itself.
Working between Liège, Morocco and the Costa Blanca, her practice is particularly informed by the landscapes and material qualities of Morocco and Spain, and her characteristic blue is created with natural pigment sourced from Morocco.
This physical mutability embodies the inner transformation explored in her interconnected series Scars of Light and Alchemical Scars, where rupture opens towards healing and renewal—transformation understood as both a material process and an emotional possibility.
NICOLE GHEZALI
Nicole Ghezali’s practice enters MUTABLE through the transfiguration of nature into material language. Working across painting, weaving and mixed media, she combines raw linen, earth-derived pigments, fibre and hand-stitching to distil the textures, tonalities and rhythms of the natural world into layered abstract compositions.
Based on Spain’s Costa Blanca and informed by the contrasting environments of Northern California and the Mediterranean, Ghezali approaches nature not as representation, but as matter in a state of potential. Through tactile processes of assembling, weaving, stitching and layering, materials are reconfigured into new forms, revealing mutability as their intrinsic capacity to be altered, reassembled and reimagined.
AXEL GOOSSENS
Axel Goossens’s practice enters MUTABLE through an exploration of fragility, transformation and the impermanence of natural forms. Working primarily with paper, he reverses the conventional trajectory of digitalisation, translating digitally constructed models back into intricate analogue sculptures of animals and organic forms.
Focusing on threatened and extinct species, Goossens employs the inherent fragility of paper as a material analogue for ecological precarity. Drawing on natural history and the tradition of the Wunderkammer, he reconstructs forms of life that are disappearing or already absent, situating mutability within the tension between presence and disappearance, preservation and extinction, memory and reimagination.
RANDOALD SABBE
For Randoald Sabbe, MUTABLE manifests in the fluidity of meaning and the capacity of images to acquire new significance. Working across art and graphic design, he draws on familiar symbols, found imagery, text and everyday objects, displacing them from their established contexts to generate new and often ambiguous readings.
Rather than locating mutability in physical matter, Sabbe reveals it within language, images and systems of interpretation. Meaning becomes contingent rather than fixed—continually altered by context, time, memory and perception. His work thus positions transformation as an act of recontextualisation, in which the familiar remains perpetually open to reinterpretation and becoming otherwise.
KATRIN DEKONINCK
For Katrin Dekoninck, MUTABLE unfolds through the body as a site of emotional and existential transformation. Working primarily with clay and bronze, she creates expressive figurative sculptures in which physical form becomes a vessel for inner experience.
Moving between vulnerability and resilience, exposure and protection, her figures suggest identities and emotional states that are never entirely fixed. Through the transformation of raw matter into human form, Dekoninck explores mutability as an intrinsic condition of embodied experience—the capacity to be altered, marked and transformed through emotion, experience and human connection.
FELIPE PANTONE
For Felipe Pantone, MUTABLE emerges through the instability of perception and the transformation of colour, light and form. Working across physical and digital languages, he employs geometric structures, gradients, reflective surfaces and iridescent materials to create works whose appearance shifts according to light, movement and the viewer’s position.
Here, mutability is not merely represented but experienced in real time: the artwork resists a single, stable appearance and is continuously reconstituted through perception. Pantone situates transformation at the intersection of materiality, technology and vision, reflecting a contemporary reality increasingly defined by flux, acceleration and perceptual change.