Sol LeWitt
During the late 1990s and early 2000s, American artist Sol LeWitt, a central figure in Conceptual and Minimalist art, continued to explore the expressive potential of drawing through a series of vibrant, dynamic works on paper. These pieces, including Tangled Bands, Not Straight Brushstrokes, and Parallel / Irregular Curves, showcase LeWitt’s shift from rigid geometric structures to more organic, fluid forms. Using gouache, ink, and acrylic, LeWitt layered undulating lines, interwoven bands, and rhythmic curves, creating compositions that balanced spontaneity with his signature systematic approach. Unlike his earlier precise, rule-based wall drawings, these works embraced irregularity, gesture, and a playful interaction of color and form. Yet, even in their apparent freedom, they retained an underlying logic, reflecting LeWitt’s enduring fascination with the relationship between concept and execution. This period highlights LeWitt’s late-career experimentation, where the rigor of Minimalism gave way to a more lyrical, almost painterly sensibility, proving that even within self-imposed constraints, endless variation was possible.
Artist Talk with Liam Everett
Liam Everett
Liam Everett’s recent body of work, presented in the exhibition He Loved Him Madly, continues his exploration of painting as an accumulative, almost fugitive practice — one where process, erasure, and material transience coalesce into resonant, unstable surfaces. The exhibition centers on a series of large-scale tondos (circular canvases, each approximately 195 cm in diameter), alongside other more intimately scaled works, all of which bear the traces of Everett’s laborious, ritualistic methods. His paintings emerge through cycles of application and removal, ayers of pigment, salt, alcohol, and solvents are worked, distressed, and partially effaced, leaving behind luminous, palimpsestic fields that hover between presence and dissolution.
The exhibition’s title, He Loved Him Madly, borrowed from Miles Davis’s haunting 1974 elegy for Duke Ellington, suggests an undercurrent of devotion, loss, and improvisational intensity — themes that resonate with Everett’s approach.
Like Davis’s composition, which unfolds through slow, shifting repetitions, Everett’s paintings operate in a space of gradual revelation, where meaning is deferred and the act of looking becomes a durational experience. The tondos, in particular, with their allover, non-hierarchical compositions, evoke celestial orbs or weathered artefacts, their surfaces at once geological and ephemeral.
Artist Talk with Liam Everett
Downtown - Gallery
Rue du Canal 13, 1000 Bruxelles
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Over the past 35 years, Galerie Greta Meert established itself as one of Brussels’ leading contemporary art galleries. Founded in 1988 as Galerie Meert Rihoux, it was subsequently renamed in 2006. In recent years, founding director Greta Meert started to run the gallery collaboratively with her son Frédéric Mariën. Located in the center of Brussels, the gallery occupies a five-story Art Nouveau building designed by Louis Bral and renovated for the gallery by renowned Belgian architects Hilde Daem and Paul Robbrecht. Since 2012 three floors of the building are dedicated to exhibitions, making it possible to maintain an expanded exhibition schedule.
In 1988, Galerie Greta Meert opened with Thomas Struth’s first international showing followed by exhibitions with Robert Mangold, Richard Tuttle, Louise Lawler, John Baldessari and Hanne Darboven. In 1992, the gallery presented Isa Genzken’s early sculptures and started to show the work of Donald Judd. These first exhibitions demonstrate the gallery’s aim to bring forth the work of these innovative artists at a time when they were still relatively unknown in Belgium. From the very beginning, one of the main focuses of the gallery has been on Minimal and the Conceptual Art. The significance of photography in conceptual strategies has also been a substantial interest in the programming of the gallery throughout the years. As early as 1991, Galerie Greta Meert was one of the first European galleries to show artists such as Ian Wallace, Jeff Wall and Ken Lum who have collectively been referred to as the Vancouver School.
During the 1990s and early 2000 the program was further developed around the work of artists like Carl Andre, Robert Barry, Jef Geys, Peter Joseph, Shirley Jaffe, Sol LeWitt, Jean-Luc Moulène, Fred Sandback, Niele Toroni, Didier Vermeiren and Michael Venezia. Concurrently, the gallery has played an important role in the rediscovery of an older generation of Italian artists who had been eclipsed by the Arte Povera movement. These artists notably include Carla Accardi, Gianfranco Baruchello, Enrico Castellani and Mimmo Jodice.
In more recent years the gallery has also become committed to a younger generation of Belgian and international artists whose work builds on the gallery’s distinctive artistic identity and historical standpoint: Eric Baudelaire, Katinka Bock, Iñaki Bonillas, Nathalie Du Pasquier, Liam Everett, Johannes Esper, Valerie Krause, Anne Neukamp, Magali Reus and Johannes Wald, together with the Belgian artists Edith Dekyndt, Sophie Nys, Koen Van den Broek, Catharina van Eetvelde and Pieter Vermeersch.