ABOUT
Sybren Vanoverberghe (b. 1996, BE) lives and works in Belgium. Vanoverberghe has had recent solo exhibitions at Stieglitz19 (BE), Deweer Gallery (BE), Cadogan Gallery (IT), Keteleer Gallery (BE) and two-person exhibitions at De Brakke Grond, Amsterdam (NL), Contretype, Brussels (BE), Barbé Gallery, Ghent (BE), Ontsteking, Ghent, (BE). Group Exhibitions include Breda Photo, Breda (NL); FoMu, Antwerp (BE); The Cultural Centre of Yangzhou, China (CN); Krasj6, Ninove (BE). His works have been shown at various fairs such as The Unseen Photo Fair, Amsterdam (NL); Miart (IT), Art Antwerp (BE) and Art Brussels (BE). Vanoverberghe’s works are published in artist books such as 2099 (2018), Conference of the Birds (2019), 1099 (2020), Sandcastles and Rubbish (2021), Desert Spirals (2023) by Art Paper Editions (BE). He has collaborated with fashion label Ann Demeulemeester and Belgian music band Whispering Sons. Other publications include Photoworks UK, De Tijd, De Volkskrant, the PHMuseum, De Standaard. He has been awarded by the Mathilde Horlait Dapsens Foundation. His works are included in the collection of the Flemish Government – Photomuseum of Antwerp (BE). Vanoverberghe received his MFA from The School of Arts – KASK in Ghent, (BE).
Vanoverberghe engages with photography, employing diverse printing techniques, installations, structures, and discovered objects in his artistic practice. His creations capture landscapes and their remnants in a perpetual state of transformation, revealing the intricate interplay between place and time. Through his works, Vanoverberghe explores the convergence of history, nature, and heritage, presenting viewers with a visual dialogue that spans both the historical ruins and commonplace locales. His art challenges established notions by juxtaposing present-day structures with what might be interpreted as artifacts from an envisioned future. Vanoverberghe’s pieces possess a pronounced anachronistic quality, with certain images portraying a bygone era that never truly existed. Within his monographs, he often delves into the cyclical nature of specific sites, transcending their original geographic context. His work prompts speculative inquiries that traverse time, oscillating between past and future with equal resonance. A perpetual tension permeates Vanoverberghe’s oeuvre, inviting contemplation on the dual nature of images — whether to accept them as historical documents or dismiss those that seem to foretell a future yet to unfold.