Brussels

Sophie Nys

Galerie Greta Meert

Seeing Sophie Nys’s work is like reading a haiku: You face an object that is at once complete and laconic, evident and enigmatic. Take, for example, a small felt disk pierced at its center and hanging on the wall, Untitled (all works cited, 2009); simple and soft, it immediately arouses a feeling of fullness. But it isn’t long before this feeling is contradicted by a vague sense of anxiety, for although this object is undoubtedly filled with meaning, it somehow remains impenetrable. The same is true of Kogetsudai, a silent video in black and white that focuses on a mound of sand some six feet high, not far from Kyoto, Japan’s Silver Pavilion. While contemplating this large truncated cone and the subtle play of light it supports, one feels uncertainty about its ostensible symbolic functions. It might be a miniature representation of Mount Fuji—the forest at its base is the subject of the

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