Nathalie Vanheule

Contemporary Artist

“I WANT PEOPLE TO FEEL AND LOOK DEEPLY, AND TRULY FEEL “

Hi, how are you today?
Hi, I am doing great, thank you. I was working on new artworks today, and I am very happy with the result. These weeks I’m busy creating and setting up two exhibitions. On Saturday, there’s a group show of contemporary Belgian artists at Kasteel De Cellen, and on Sunday, another group show at Muze’um L. In both places, I’m presenting new artworks. Tomorrow morning, I drive to Paris for meetings with French and Belgian curators. Next week, I fly to Porto for an upcoming artist residency organized by Hubert d’Ursel. I feel happy, full of energy, and creativity.

You’re a contemporary artist. How did your artistic journey begin?
I grew up in Ieper, a city marked by the World Wars. The landscape is filled with cemeteries, statues, craters, and scars. The confrontation with life's fragility is ever-present due to these scars in the landscape. When I was five, I realized I was different, more sensitive than the children around me. I remember this moment of realization very well. You don't choose art, art chooses you. It's a long process of accepting that you are an artist from within. I was destined to become an engineer after high school, with 8 hours of math per week, just like my father and brother. But at 13, I was fascinated by art, philosophy, and psychology. I read art books, drew, wrote every day, and won art prizes. My drive and sensitivity were immense. At 18, I made a thick book analyzing my own poetry and paintings. When my mother passed away a month before I turned 18, I decided to study art at Luca School of Arts in Ghent. I felt her strength, and I graduated cum laude with two master’s degrees in Fine Arts from Luca School of Arts and KASK Ghent. As a master’s student, I was noticed and given opportunities to exhibit my work at the art center Vier nul vier, the Museum of Fine Arts MSK Ghent, and the Museum of Contemporary Art SMAK Ghent. From then on, there were countless exhibitions and projects at home and abroad, without pause. I believe in following your passion and talent and working hard for it. The path is not always easy, but there is a way. It's not just passion; it’s also really fun.

Do you have any specific artists or art movements that had a significant influence on your work?
I really love the work of Louise Bourgeois, Pipilotti Rist, and Rebecca Horn. Rebecca Horn's work fascinates me and has made a big impression. Seeing the work of Belgian conceptual artist Marcel Duchamp, Francis Bacon, and Bill Viola has also influenced my art. My biggest recognition was my first solo show at the Osan Museum of Art, representing Belgium in the Daegu Biennale in South Korea, and having my artwork exhibited in Italian group shows curated by Chiara Isadora Artico alongside pieces by Man Ray and Marina Abramović, both of whom I admire as important artists.

You’ve been active in both Belgian and international art scenes (Paris, Korea, etc.). In your opinion, what are the main differences in how art is perceived across different cultures?
When I lived in Paris, I felt the hustle and fast pace of the big city. The constant motion, the rush, and the continuous stimuli present a big challenge for an artist. The Parisian art scene is very international and immediately at a high level. People fly from America to Paris or Berlin just for a weekend of exhibition visits. You don’t have that in Ghent. In countries with a predominantly Catholic background, there is a strong emphasis on financially supporting artists. Belgium has many important art collectors and patrons. I am often supported and sponsored in the realization of my work, for example, in the creation of my pressed aluminum sculptures. In countries where the idea of purchasing art is newer, due to a different cultural background like communism or Protestantism, you feel that collecting is reserved for a certain class or group.

In South Korea and Shanghai, much of the art in museums feels clean, screen- and computer-related. My work is tactile and sensitive. Curators in Seoul and Shanghai find the sensitivity, femininity, and tactile aspects of my work refreshing and important to show their audiences. The Buddhist background in the East makes them love my work. My work is about transition, trust, and empowerment.

Who is a contemporary artist you think we should be following?
Joost Pauwaert is an amazing artist, and so is Stef Van Looveren. Today I went to see a performance by Joost. He works with fire, and Stef uses his body. They have no fear in what they show. Their work is very honest, raw, and pure. Bianca Bondi is an interesting Parisian-South African artist. We met in Paris and exhibited our works together, and she also works with the theme of vanitas, like I do. I totally admire Dutch artist Melanie Bonajo and Marie Cloquet as well. All these artists are very talented, driven, and dear friends.

Are you more of a night owl or an early bird when it comes to creating art?
A night owl. When I work, I don’t want to feel that hours exist as a limit. I love working for days on end in the studio, completely immersed in my own world. That’s when I go deepest with my work and achieve the best results.

What are some essentials that you have in your workspace?
Lots of makeup, body lotion, scissors, pencils, sandpaper, music.

As a contemporary artist, you wear many hats. How do you structure your days to balance everything?
I have two lovely, creative children, Estée-Lou (11) and Laurens-Bernd (13). Motherhood brings intense happiness, but also a deep focus and good organization. I maintain a balance between being a mother and being an artist. When I spend time with my children, I love being fully present for them—listening, dancing, cooking, cuddling, and enjoying fun outings. I enjoy cooking for the family, inviting friends over, hosting birthday parties, and watching their hockey games. It’s important for me to feel their world while also sharing my world with them. They see how hard I work, but also that there’s a social network and moments of relaxation. They also see that being an artist is a real profession. I take them to my exhibitions as much as possible, both in Belgium and abroad, and they love it. In my performances, I work with actors with whom I have an emotional connection. This connection is essential for the transition of emotions to the audience or the work itself. It wasn’t planned, but it has naturally developed that I integrate my daughter or son into my performances. Estée-Lou and Laurens-Bernd have witnessed all phases of creating art: networking, setting up exhibitions, interviews, taking down exhibitions, reflecting, doubting, feeling happy. When I don’t have to take care of my children, I plan my days 100%, either traveling for art with many meetings or working long and intensely in the studio. When creating new work, I want to focus completely. My large canvases explore the symbiosis between human and mechanical imprints on sandpaper. I work for hours on end. My days then consist almost entirely of being in the studio. I believe in the transition of emotions onto the canvas. I love control, but also letting go. I go very deep emotionally for this.

What element do you love the most and what element do you enjoy the least?
I love that I can fully pursue my passion as an artist and that it’s recognized. This makes me deeply happy. I love creating and being in the studio most of all. It’s magical when you have an almost impossible idea and still manage to realize it. Honestly, I love all aspects of being an artist. I enjoy all phases, even the uncertainty and high pressure. Without passion, fun, and love, it wouldn’t work.

What do you enjoy most about exhibiting your work to an audience?
The best part is when people tell me that, even five years later, they still often think of one of my works and how they felt moved and touched by it. Ultimately, you want to convey something with your work. When people are touched by my art, that’s my highest goal. The contact with the audience is very important. Art provides comfort and strength in life. It’s essential and nourishes the soul and brings happiness.

Can you tell us more about your upcoming exhibition this weekend?
My work will be shown at the "Human/Nature" exhibition curated by Benedict Vandaele. The exhibition will take place from September 21 to October 6, 2024, at Kasteel De Cellen in Oostkamp. Along with 24 other artists, curator Benedict Vandaele explores the complex relationship between humans and nature, addressing themes like mythology, technology, and nature experiences in an artistic way.

I’ll be showcasing works where I create body imprints using makeup on sandpaper and canvas. This work has a performative nature where I explore the boundaries between the canvas and the human body. The large sandpaper, measuring 2m20 by 140cm, shows vertical traces of mechanical imprints. Sandpaper is used to beautify objects, and makeup is used to beautify humans. The mechanical and human marks come together on the canvas. During the creation process, I focus on my feelings, strength, and the transition of these emotions. Through my work, I hope to offer comfort, love, and strength to the viewer. The works on canvas are inspired by my work on sandpaper.

The artists group of the expo includes: Robberto & Milena Atzori, Stijn Bastianen, Frederik Buyckx, Elise Debrock, Joke Derycke, Stief DeSmet, Jan De Vliegher, Artur Eranosian, Nick Ervinck, Mehdi-Georges Lahlou, Lode Laperre, Alexandra Leyre Mein, Els Lesage, Tom Liekens, Hélène Meyer, Joke Raes, Sammy Slabbinck, Delphine Somers, D.D. Trans, Hans Vandekerckhove, Danny Vandeput, Nathalie Vanheule, and Nicolas Van Parys.
On Sunday, September 29, "Human/Nature" will host a 'Discovery Day,' where you can enjoy a unique blend of nature, gastronomy, and art. Check out the program at: www.expohumannature.com

What do you hope people take away or experience when they view your work?
I want people to feel and look deeply, and to truly feel.