Maquette Hoogleedse toren

Rooted in Hooglede

In the west of Belgium lies the village Hooglede. This is where Flore grew up, next to her sister, father and mother. On the highest part of town, like a tower stood her house. Hidden behind the walls, windows and curtains, her father and mother knew everything about the neighbours. "Close the curtain because they can see us" he said every evening, while he was secretly watching the others when he heard a sound outside. Every night and moment of farewell Flore was obligated to give a kiss goodye while normal conversations were absent in this house. It was a ritual for a better connection between the family members. 

She didn't took this house as a place of love and happiness, but more like a playground to learn and unfold herself, on her own. It was filled with walls, corners, doors and different types of spaces, enough to fill her whole life with wandering around this universe of aged memories.

The walls make us save our secrets and privacy. The curtains make it possible to feed our curiosity. Drawers and corners harbor memories. The foundation of the house is firmly rooted so we can grow up in balance. 

'Langs de rode loper'

Along the red carpet we walked. Bumped against the wall of different bricks. Beyond the recognizable strange elements in space. Groundless.

Langs de rode loper

When lines form space

The fascination she had in lines while traveling made her draw and think about space in a different way. Letting go of memory and reality and go back to the intuitive and surreal is how she starts a drawing. Different materials and colors start to appear such as tape, collage, and pastel-like colors. They come together in an architectural composition of lines and shapes. Although she never studied architecture, the elusive space around her and its unclarity make the way of making art become very spatial, questioning the space around us, it's materiality, and how memories can transform space.

Kunstwerkt en Cera nodigden me uit om deel te nemen aan een interview in verband met de open call 'dive into mankind' over collagekunst. Hier het artikel


Traveling to Asia and the middle east

While traveling for 8 months through different countries she took many pictures of the variety in houses, roads, people, lines, shadows and more. Arriving in Iran made her stop for a while in a printmaking residency of the Vakili family in Tehran. There she could process all she had been seen the past months. At the end of the residency she made a book called 'shokuh av. No. 9 Unit 6' which talks about the location she was, is and will go to. Traveling made her think deeper about the space around us, and also how our memory transforms it into a dreamy place where reality and dream almost have no boundaries.


'Gerookte liefde'

Quit smoking is a mental and physical closure of habits and addictions. On the border of doing it and ending it, there comes a hard mental part where you convince yourself of the bad characteristics of smoking, and where love and hate are trying to win at the same time. To help this process round up more quickly Flore always makes some art with her cigarettes or tobacco and papers. A way of saying goodbye. 

In the work of 'gerookte liefde', translated as 'smoked love' she wrote down positive and negative keywords while smoking the last cigarettes of her package. The ashes fall on the paper and it ends with putting out the cigarette on the paper. The act of tracing every bit of ash, that fragile and dead part that rests of a cigarette, gives her time to think.

After the last cigarette, the words were put in alphabetical order and melted into sentences. This is not only about smoking, but it's also a way of processing deeper love and hate feelings towards a person, addiction and the love between it. 

Coordinated grounds


An installation, existing out of two-dimensional elements, is coating a space where the visitor seems to be unable to enter properly. Every detail was thought through until the space, which the visitor could enter, became almost unprocurable in its controllability. The images can be read, but the core of its meaning is difficult to acquire. This is the effect of the emotional removal whereby almost no tracks of the artist are to be found.

This 'not getting through' was exactly the feeling Flore had after an accident with her bike, where she was afterwards exposed to the power differences between police and citizen. The cause of the accident was a misplaced concrete block on her road. We travel through public space, where symbols guide us through the area. But when the symbols differ from their regulated form, or when they are misplaced, how are we to read them, and where do they guide us?

When recovering, Flore started walking through the streets. She collected the 'broken' symbols, trying to read them closely but did not found a new meaning. They started to be independent, even in their collection.

Coordinated grounds is showing three works who are all precisely reread symbols and plans. None of the shapes are distorted from its original, they are only converted through another medium where she was able to read the symbol through an artistic act.

A piece of text she wrote, with a ruler on millimeter paper, is placed outside the installation. This comes with a series of drawings where she drew Google street views from the bicycle route the night of the accident.

This descriptive Dutch text is explaining the moment before and after the accident. The combination of this emotional and personal written text, and the almost mechanically hand-made images, overlap each other. They both try to get away from her feelings, but at the same time try to order them in their own way.


Coordinated grounds was the graduation project of her Graphic Arts Masters education in 2018, shown in Kask, School Of Arts, Ghent.


A hazy zone. An unreliable fragment.

Signaling while strolling.
Gathering. Collect and transport.
Disassemble. Disorganize.

Cautiously building up.

Cumulate and connect.

To coordinate, to ground.


A collage of imprecise areas

into a well-organized entity.



Text on graduation card

Sculptural flatness


In 2017 Flore mainly focused on plastic objects due to her move to Munich, where she had to buy everything new. After a while, she noticed that the plastic bag is a daily life tool that every human being is using for multiple purposes, and also she herself was surrounded by these carriers.

A bag comes in life as a flat plastic surface until the moment that the customer starts using this tool. While it gets filled up, it is growing on folds, wrinkles, and cracks. This is where the beauty of it is based, in the aging of a material. It can never go back to its original state: unharmed and flat.

In this series of 5 prints, she started researching what kind of interesting forms a plastic bag can create. Through sculpting the bag into a shape with her hands, she printed it onto the flat surface of the paper. The abstract prints are supported by a fictional shadow created by her hand, to transform the flat image into the illusion of a sculpture and also to restore its volume, as if it is filled with something. This two-dimensional move towards a sculpture is bringing the abstract shape back towards the space of the paper and also back into the air, where it is filling itself with most of the time.

It was a constant construction and destruction of the collaboration of the air and the bag. This within the printing process, and bringing the bag into a shape, crackle the bags, drawing the shadow, and so on until this series was showing several movements of one simple plastic bag as an empty object.

Sculptural flatness

5 prints
1 print, 45 cm x 65 cm
Monoprint on paper


Bäume vor Gebäuden


Living in a new city makes you re-see things again. In 2016/2017 Flore was an exchange student in Germany, Munich, for a period of 5 months. Out of her window, she saw the overwhelming nature mixing with the even bigger human created buildings. The controlled, geometric and fixed way of shaping the human necessities stood in contrast to the, at first sight, uncontrolled, spontaneous and randomness from nature's maker. Both always go hand in hand and try to adjust to each other.

Trying to be the creator of both, Flore took the roles from these two contradictory makers at the same time, upon her as an artist. Influenced by her new class full of painters, she tried to disconnect herself from her cherished but strained way of creating. Searching for a balance between control, shapes, and spontaneity was the key point for this series of etchings, titled "Bäume vor Gebäuden". Translated as "trees in front of buildings" it goes back to her first inspirational view, out of her window from her new flat. These series show a poetical interpretation of our contrasted cities.

Bäume vor Gebäuden

14 prints
1 print, 12 cm x 12 cm
Coper etch on paper

The Tape Projects

Collecting something ends up with throwing it away because of its unusability. When collecting a material, while still treating it that way, it will give an incessant changeable collection. Emerging out of this idea, 200 various rolls of tape were brought together. This industrial material that has been used for many years to fix, connect and hide things. In this project tape, it used out of its ordinary context. 
The tape projects examine how the tape is differing in specifications, or in which way the material reveals itself in an artistic context through printmaking.

Each roll of tape also has its own number. The titles of the following works are often linked to the tape used in the image. The collection is digitally listed in a personal archive with all its features. Together they were the center of a fictional museum of tape (MOT), with the purpose of bringing artists into the museum to use the collection, so tape became an art object instead of a material.

Mapping the Unknown


The image arises out of self-made slide plates. By letting different fluids flow into one another, a transparent image was created. The slides were projected, and the etching surface was confirmed on the wall. By drawing the outline of the shapes onto the zinc-plate, the projection could be transferred onto the surface. Sometimes through an experiment with various materials on a plate, the varnish was taken away. Afterward, she filled the intact parts of the varnish with lines, very precisely and almost meditatively. The process is playing an important role in this series.

This project was completed with a big etch. It comes with a drawing map, accomplished through her thoughts she wrote during the process. The numbers are counting by 5, because of the restriction of only drawing 5 minutes at a time.