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Troch Griet
  -    -  Troch Griet

© Alexander Popelier

Griet Troch

Visual artist

With “Nudity never gets to a point that I no longer touch you naked with my gaze“, poet Hugo Claus vulnerably condensed tenderness and aggression into one perfectly composed sentence. Griet Troch’s artworks harbour the same gripping and clenched autobiographical honesty in one silent image. Although the protagonist is man in all his inadequacy the artist does not directly seek a (self)portrait. She explores a diversity of emotions, during a fundamental ensemble of model and creator, until the boundary between the two roles disappears. Matter and medium are subordinate to the movements of mind to be captured, leading to a multifaceted oeuvre. Wax, concrete, plaster, marble, latex, silicone, photography, video art, 3D printing, and installation art are used multidisciplinary as different perspectives, viewing- and feeling-options as it were, to observe and relive affects. Tactile, Troch intimately and candidly kneads, welds, photographs, moulds, pours and sculpts snapshots or life stages from her core to the outside world. With deep body awareness, she scratches away the thin layer of socialisation and self-control to capture primal feelings and give them new life in tender images. Razor-sharp she fillets physicality until all that remains is radical poetry, pure emotion, and disembodied reality. Her fascination with the physical and energetic translation of the expression of urges and feelings gives the artworks a suspense akin to classical sculpture and Baroque compositions. However, the current use of Drapery loses the erotic effect of simultaneously concealing and exposing to the power of the profound ‘naked emotion’. Troch’s nudes expose an intimacy that goes far beyond the skin. Her authentic gaze pierces through the flesh and touches straight to the heart.

Femke Vandenboch


Griet Troch (born 1977, Bruges) is a visual artist, sculptor and photographer. She lives and works in Oostakker. “Screaming for silence” was her first solo exhibition. (Diskus – Aalst)

If you woke up in a museum room filled with the entirety of Griet Troch’s work, you might be puzzled. For the unprepared, her body of work can be overwhelming in its diversity. Eclectic in style, substance, and method, you are venturing into unknown territory.

Hers is a deeply emotional world filled with horny cartoon bunnies, frail marble figurines, contortionists, and plenty of roadkill.

She must have been about six years old when she stood mesmerized, her mouth agape, observing the process of pouring figurative candles into moulds at her parents’ company. The amorphous block effortlessly transformed into an enigmatic abstract object, evoking a sense of wonder.

That sense of wonder has been her constant companion ever since. She acts as a transformative device for emotions, constantly giving birth to and being born from them like Ouroboros, interconnecting all things, a perpetual emotion machine, if you will. Her work is like a thick book bound in smooth leather, delving into itself while undergoing constant revision and redefinition.

When confronted with her ‘Regalos’ series it is hard not to think about Giuseppe Sanmartino’s ‘Cristo Velato’ (1753), and the myths connected to that sculpture. It was rumored that he placed an actual veil on the sculpture and gradually turned it into marble over time using an alchemical process, marblification.
For the record: he did no such thing – Sanmartino was simply an exquisitely talented sculptor.

In the same vein then, one could be forgiven for thinking Troch made a Faustian bargain with some mysterious entity to produce her own kind of alchemy: the marblification of consolation.

Troch’s protagonists are alone but not lonely. They do not need us; they have found the solution to their problems in solitude. Their fears, doubts and sorrows have caught up with them, but they have been embraced through contemplation, stillness, and silence.

A marble figure – ‘The Warrior’ – makes itself invisible in a blanket, holding a hand against a wrapped cheek. What do the sculptures in the Salle du Manège of the Louvre dream of when the lights go out at night? Of this sculpture?

There is a pervading sense of escape, of having found refuge from the unrelenting carpet bombing of the senses that is modern life. Remember the aversion therapy scene in ‘A Clockwork Orange’? Troch’s ‘Blurries’ might be the perfect antidote.

A sense of hope, of promised worlds that Troch’s unlikely heroes – facing away from us in their niches – can see, but we cannot. What, we wonder, is waiting for us on the other side of the ‘Found Windows’? And what is out there waiting for Troch, an artist perpetually on the verge of breaking through physical, emotional and existential walls? Let us find out, together. Let us transcend.

Michael Knapen – Vinderhoute, 2023

Solo exhibitions

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Group exhibitions

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