B-Sides and Rarities, Fred & Ferry Gallery, Antwerp, Belgium

“Shrimp Cocktail Nature Morte”

ceramic: glaze, underglaze, and metallic luster on Saint Aubin red clay 

13cm (H) x 9.5cm (W) x 9.5cm (D)

or 5-1/8 x 3-3/4 x 3-3/4in


parts: 2 qty

“Still Life with Cooked Shrimp”

ceramic: glaze and underglaze on Saint Aubin red clay 

26cm (H) x 9.5cm (W) x 9.5cm (D)

or 10-1/4 x 3-3/4 x 3-3/4in


parts: 2 quantity (qty)

"B-Sides & Rarities

Opening weekend: Saturday and Sunday, April 8th and 9th, 13-18hr.

Exhibition dates: April 8th - 29th, 2023; Thu-Sat, 13-18hr and by appointment.


Fred & Ferry Gallery

Leopoldplaats 12

2000 Antwerp, Belgium

+32 (0) 476 66 34 39


at Fred & Ferry Gallery, Leopoldplaats 12, 2000 Antwerp, Belgium

Dutch (NL):

Van 8 april tot en met 29 april vindt de tentoonstelling B-SIDES AND RARITIES plaats bij FRED&FERRY. Voor deze tentoonstelling hebben we alle kunstenaars van de galerie uitgenodigd, inclusief alle gastkunstenaars waar we ooit mee hebben gewerkt of in de toekomst graag een keer zouden mee willen samenwerken. Het resultaat is een energieke, dynamische en inspirerende expo geworden met een hoeveelheid aan kleinere werken en speciallekes.

B-SIDES AND RARITIES was een project dat in 2009 door Lokaal 01 in Breda was geïnitieerd. Het was een project dat de intentie had om het publiek kennis te laten maken met de onuitgegeven, de ongerealiseerde en de onrealiseerbare werken van beeldende kunstenaars. Ze bood de gelegenheid om de andere grens te leren kennen, een beeld van dat wat men doorgaans niet ziet.

Wat mag je zoal verwachten: Ideeën, schetsen, ‘outtakes’, maquettes; de eerste , tweede en/of latere versies, de quasi B-kanten, rariteiten, flarden van bedenkingen, reenactments, onuitgegeven registraties, zeldzame en herwerkte edities, live-performances, radio-opnames, bijdragen aan theater of film, verzamelaarsstukken, werken die om de een of andere reden nooit tot uitvoering zijn gebracht, werken die nooit in een laatste voltooiingsfase zijn geraakt.

Opening op zaterdag 8 april van 13 tot en met 18 uur. De tentoonstelling is nog te zien tot en met 29 april. De galerie is open van donderdag tot zaterdag van 13 tot 18 uur en 7/7 op afspraak.

English (EN):

From 8 April to 29 April, the exhibition B-SIDES AND RARITIES will take place at FRED&FERRY. For this exhibition, we invited all the artists at the gallery, including all the guest artists we have ever worked with or would like to collaborate with in the future. The result has become an energetic, dynamic and inspiring expo with a quantity of smaller works and ‘speciallekes'.

B-SIDES AND RARITIES was a project initiated by Lokaal 01 in 2009. It was a project that intended to introduce the public to the unpublished, the unrealised and the unrealisable works of visual artists. It offered an opportunity to get to know the other border, an image of that which one does not usually see.

What to expect: Ideas, sketches, 'outtakes', maquettes; the first , second and/or later versions, the quasi B-sides, curiosities, snippets of reflections, reenactments, unpublished recordings, rare and reworked editions, live performances, radio recordings, contributions to theatre or film, collectors' pieces, works that for one reason or another were never brought to fruition, works that never reached a final stage of completion.

Opening on Saturday 8 April from 1pm to 6pm. The exhibition will remain on view until 29 April. The gallery is open Thursday to Saturday from 1pm to 6pm and 7/7 by appointment.

photos: Shivadas.be

above: Model volcano, as seen in film still from “Joe Versus the Volcano” (1990).

Note: Joe, the protagonist of the film, after being diagnosed with a mysterious ailment, is miraculously enabled to undertake an ultramundane journey which leads him to visit the souls in Hell, Purgatory, and Paradise, much like Dante in Dante Aligheri’s epic poem, “La divina commedia” aka “The Divine Comedy.”

The volcano, in this case, is symbolic of Paradise, and in my interpretation, in relation to my submitted artworks for “B-Sides & Rarities” the use of the nature morte of shrimp/shrimp cocktail atop a mound, represents the exotic of paradise: something to strive towards in the hero’s/heroine’s journey from bondage to sovereignty.

Mid 15th century: Alberti’s Palazzo Rucellai, Florence: first use of superpositioned columns in a private house.

above: Sebastiano Serlio’s paradigm-setting drawing of the five orders: Tuscan, Doric, Ionic, Corinthian, Composite.

Sebastiano Serlio’s paradigm-setting drawing of the five orders: Tuscan, Doric, Ionic, Corinthian, Composite.

80 AD “Colosseum”: Doric column at the bottom, followed by Ionic and Corinthian levels

The image I submitted is a film still of a model volcano exploding. I chose this image because of its subject: the universal mythic and mysterious volcano. That, along with mountain-like formations, caused by either the shifting of the earth’s tectonic plates, or human-made mounds and temples, are powerful and intriguing to me and go along with my interest in the “Migration of Forms.” In this case, the form’s mass goes from heavy to light, culminating in a peak, zenith point. You can see this recurring form in the images of artworks I’ve made in the past decade.

Another interest of mine, “The Construction of Appearances” or “How Culture Represents Itself” relates to the facade, which I believe is in relation to a hierarchy inherent in the form of the volcano and mountain-like formations. The facade in terms of “superimposition”(see below), in relation to the order of columns and thus the facade (which at times hosts columns), is basically where the higher one goes, the more complex things become. As with my note which accompanies the image I submitted (see above), in which I liken the subject of the volcano (in the film still)/the protagonist of the film, to the artwork I submitted for “B-Sides & Rarities”, which features a nature morte of shrimp/shrimp cocktail atop a mound: the journey from bondage to sovereignty. 

 “A metonym for architecture as a whole, the facade is the element vested with the most political and cultural meaning.” [...]^1 “Before the facade as a whole crystallized in the field of vision of the theoreticians, their attention was centered on the column, the capitals, the woodwork, and other forms of embellishment [...] As the most important elements of what would later be called the ‘facade,’ the columns can be arranged in two ways in the surface of the front of the building. The first principle is what [Swedish art historian] Erik Forssman [1915-2011] calls ‘superimposition.’ Superimposition came into practice in ancient Roman times when, if various orders of columns were mixed into one facade, they were arranged in fixed rows above one other, such as the Colosseum in Rome (ca. 80 AD) [...] The richer orders were placed above the simpler ones: the Doric level at the bottom was followed by Ionic and Corinthian levels above.”^2 

[...] “Just as [Italian Humanist Leon Battista] Alberti (1404-1472) transferred the ‘superimposition of the Colosseum’ onto the facade of the Palazzo Rucellai, Brunelleschi conferred the syntax of the ancient facade onto the early modern palace.’^3


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