Daniel Dewar & Grégory Gicquel, Installation view The Wet Wing at Z33, Hasselt. Foreground: Stoneware jar with body fragments and snails, 2024. Background: Silk painting with mirror carp, common water-crowfoot, pondweed and duckweed, 2025. Commissioned by Z33. Courtesy the artists and Galerie Loevenbruck, Paris. Photo: Lola Pertsowsky

Daniel Dewar & Grégory Gicquel, Installation view The Wet Wing at Z33, Hasselt. Foreground: Stoneware jar with body fragments and snails, 2024. Background: Silk painting with mirror carp, common water-crowfoot, pondweed and duckweed, 2025. Commissioned by Z33. Courtesy the artists and Galerie Loevenbruck, Paris. Photo: Lola Pertsowsky

Daniel Dewar & Grégory Gicquel

The Wet Wing

Daniel Dewar and Grégory Gicquel’s collaborative art practice evokes a contemporary pastoral world through a monumental approach to craft practices. In their work, farm animals, local plants, man-made objects, or human anatomy are rendered into technically challenging materials such as embroidery, oak, marble, or silk. Probing divisions between nature and culture, they look towards tools, materials and imagery that explore our kinship with, and separation from the natural world. They place a high value in artisanal techniques to produce their artworks, often developing bespoke processes for the creation of singular works.

For their upcoming solo exhibition at Z33, Dewar and Gicquel are embarking on the production of a new monumental silk painting, which will stream through the five galleries of the historic Vleugel 58. For this epic painting, the duo have chosen to depict a river scene with freshwater fish. As companions to this immersive aquatic scene, Dewar and Gicquel will be presenting a new series of sculptures made of stoneware ceramics and pink marble.

Curator: Kevin Gallagher

30.03 to 24.08.25
View of the exhibition11 images
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Daniel Dewar & Grégory Gicquel at Z33

One model proposed for the visual art exhibition is the theatrical play. It is a stage setting minus performers, since we spectators are the actors who enact each scene, with the artworks serving as our ‘props’. Rather than reducing artworks entirely to props, however, this model assigns the spectator the role of script writer who imaginatively engages the set, each viewer coming away with their own plot. Following the Greeks, Hannah Arendt drew attention to the spectator’s significance, (…)