“PORTRAIT D I 24” (2024), recycled wood sculpture, 55.12 x 36.61 inches. All images © Audrey Jonchères, courtesy of Nosbaum Reding, shared with permission
Lush with material textures, ’s portraits have no identifying attributes. The Belgian artist () puzzles together fragments of wood or marble into figures with distinctive postures and presences but no facial features. Anonymity can lend itself to universality, De Croock believes, and he strives to pinpoint the experiences and stories that touch many lives.
Using reclaimed materials, the artist finds that dings, scratches, and evidence of wear add to the histories of each piece, while speaking to a sense of timelessness that runs through his work. “The materials hold something magical. They possess a certain spontaneity, impossible to recreate. They show an amazing imprint of everything that ever happened to them. You can ‘see’ time,” he said in a statement.
If you’re in Brussels, you can see a collection of his portraits on view through July 13 at for In Limbo. Otherwise, explore more of the artist’s work on .
“PORTRAIT R IV 24” (2024), recycled wood sculpture, 33.46 x 21.26 inches
“PORTRAIT F VII 24” (2024), Taj Mahal marble, 20.87 x 36.61 inches
Left: “PORTRAIT R II 24” (2024), recycled wood sculpture, 70 x 40 centimeters. Right: “PORTRAIT L I 24” (2024), recycled wood sculpture, 90 x 53 centimeters
“PORTRAIT R IV 23” (2023), Patricia Verde marble and wood frame, 72.44 x 55.71 inches
“PORTRAIT R V 24” (2024), recycled wood sculpture, 39.37 x 21.26 inches
“PORTRAIT G I 23” (2023), Carrara marble and wood frame, 100 x 64.57 inches
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