➤ Photography by Guinness Vanhellemont
Body Pulse
When people grow accustomed to communicating through language and images, understanding tends to precede bodily experience. This is not a flaw; however, precise definitions can lead, without us realizing it, to a loss of our ability to interpret the latent possibilities of things. This may be one of the motivations that drive artists to move beyond linguistic systems and explore forms of expression through material and experimental approaches.
➤ Photography by Guinness Vanhellemont
Belgian artist Emily Kelly and Taiwanese artist Xuanlynn Wang are presenting their Body Pulse series at Entry Gallery in Brussels. Through their respective practices, they jointly explore how the body and material shape our collective perception and lived experience within nature.
➤ Photography by Guinness Vanhellemont
➤ Photography by Guinness Vanhellemont
The Body as a Creative Core, Bearing the Memory of Materials
Emily Kelly’s artistic vocabulary draws from anatomy, positioning the “body” as a central element within her practice. Through manual processes that reveal deviations and traces of imperfection, as well as modular structures that she personally transports, assembles, and disassembles, materials become imbued with the memory of contact. Within this logic, both sculpture and drawing function as structures of contact, faithfully recording the unpredictability, diversity, and inherent contradictions of the process, while sustaining a continuous state of attentiveness throughout creation.
➤ Emily Kelly-Alter Torso 1.Material_ Cotton, paraffin wax and metal hardware (serie of 4) 59x37x10cm (2025). Photography by Guinness Vanhellemont
In this exhibition, she presents her first body of work in which drawing serves as the primary medium. Beeswax and paraffin play a central role in these new works. Combined with paper and textiles, and through repeated processes of layering, melting, perforating, and assembly by hand, visible traces of resistance and transformation are left behind. Extending from two-dimensional works into sculptural forms, the works reveal the material’s range of qualities—from translucency and fragility to solidity and protection—while examining how oppositions and boundaries, whether natural or constructed, may create separation, yet simultaneously hold the potential to merge into unity.
➤ Emily Kelly-Ruminant Archive (molar). Material_ beeswax, cardboard, cotton, paraffinwax, steel. 31 x 22 x 19 cm (2026). Photography by Guinness Vanhellemont
➤ Emily Kelly-Derma Flexion. Material_ Plaster, paper, beeswax and metal hardware. 17 x 12 x 4,5 cm (2026). Photography by Guinness Vanhellemont
➤ Emily Kelly-Dreamscape 1 (Anomalous Measures). Material_ graphite pencil, paper, canvas on wood, beeswax, paraffin wax, plastic and nails. 30x25x2,5 cm.(2025). Photography by Guinness Vanhellemont
How the Environment Seeps into the Body and Shapes Perception
Xuanlynn Wang’s artistic practice is grounded in photography, material processes, and a performative sensitivity informed by the “Environmental Consciousness Hypothesis.” Using analogue film photography, she captures fleeting and subtle moments in her surroundings, including the textures of both urban and natural environments. These photographic fragments are then embedded into material forms, which are subsequently reassembled—through the recomposition of space and material—encouraging reflection on one’s relationship with the surrounding environment.
➤ Xuanlynn Wang _“Fragmented, Dense, Dim” _ Inkjet Print, Awagami Paper, Wax, Aluminium. _ 30 x 9 x 1 cm. Photography by Guinness Vanhellemont
She regards the environment as an invisible and omnipresent element that continuously permeates the senses, subtly shaping perception. Through a distinctive visual language, her works invite viewers to reflect on the intrinsic beauty of the organic world, as well as the deeper, often unconscious connections that bind us to our environment.
➤ Xuanlynn Wang “Layered, Decaying, Rusting, Captured I,II,III” _ Inkjet Print, Paper, Paper tape _ 30 x 40 cm. Photography by Guinness Vanhellemont
➤ Xuanlynn Wang “Layered, Decaying, Rusting, Captured I” _ Inkjet Print, Paper, Paper tape _ 30 x 40 cm. Photography by Guinness Vanhellemont
After the Pulse of the Body
Together, the works of both artists seek to transcend the limitations of everyday perceptual experience through tactile processes and material experimentation, establishing an intermediate space between the unknown and the tentative. As visitors quietly step inside and encounter the works through intuitive and undefined means, this passage of time flowing within inner consciousness may already have subtly shifted one’s perspective on how the world is perceived. At a certain moment in the future, a sense of surprise may quietly emerge.
➤ Xuanlynn Wang “Aged, Worn, Mottled” _ Inkjet Print, Awagami Paper, Wax, Aluminium. _ 30 x 40 x 3 cm. Photography by Guinness Vanhellemont
