Graduated from KASK, Ghent (2021) with a series of poppy flower drawings, a visual ground base of Noa Verkeyn (1997, Belgium) her practice was established. Apprehending a strong colorful mindset to create a visual utopia. With this project, flowers were captured in their flourishing prime while having dirt shoes on, holding shovels, and showcasing their roots without any shame. By humanizing these flowers, they serve to observe the relationship between the self, another person, and nature. These works are pleasant, funny, and brim at the same time. Flowers holding their shovels so casually like they are about to evict their roots from their nourishing ground. Humanizing nature as a reflection, an allegory on our condition humaine.

This symbolism lays out the ground form of Verkeyns practice. Over the last few years, her new body of works embedded – primarily – new symbols such as hearts, crystal glasses, and thorn stems. Creating a richer visual language to tell the story of how to exist in a world where mysticism has to be created again.

By taking this medium of drawing seriously, Verkeyn enters a so seemingly new tradition within contemporary culture. One that focuses on elevating drawings towards a higher level of autonomy. More artists uplift this – historically – looked upon medium of drawing as a mere means to the final work, a sketch, the outline of an idea, this so-called low medium receives more and more recognition. So does Noa Verkeyn use this medium of drawing to the fullest to depict a new form of visual language.

Text by Jonathan Meersman