For a few decades now, Tinka Pittoors has been drawing a unique and unusual journey based on a carnal and intimate relationship to nature and on a malicious tenderness for our consumer society. This duality is reflec- ted in sculptures both organic and industrial, naive and sophisticated, which invent representations of the world tensed by an underlying violence. Joyful and disturbing, they evoke the myth of Daphne as much as the double face of Janus: Daphne by the invasion of plants wether they are a transformation or a suffocation; Janus by the double game between nature and culture, between lightening and impasto, between plants and objects of consumption, between beginnings and ends.

For the exhibition, Tinka looked at a genre dear to classic Flemish painting, and gave shape to strange «still lifes». She reverses their narrative process though, by confronting them, without moralization or judgment, to our society. It is no longer the symbolic hold of man over nature, but the exact opposite. Of man or woman remains only their shoes fixed in their gangues of matter, meanwhile leaves and tendrils climb to the assault of metallic structures that are reminis- cent of so many of our buildings. Through the invasion of these strange ivies and by compacting our own objects of consumption, each sculpture seems to remind us of our presumption in wanting to dominate the world. With Tinka’s objects, though, existential interrogation is never heavy or opaque. Colorful and baroque above all, they daze us with pleasure and enchantment.

Isabelle Pouget