Biography & artistic vision
Born on 24 August 1976 in Brussels, BrieucC comes from a family of artists.
Trained in drawing and painting using the Martenot method, he developed a sensory approach to creativity from a very early age, paying close attention to the balance of forms, volumes and colours.
Having always been fascinated by light, he gradually made it a central element of his work. In 2014, he conceived and created his first work incorporating artificial light. Entitled La Porte, this piece - which is highly symbolic for the artist - marked the beginning of a new chapter and steered his artistic exploration towards perception and movement.
BrieucC has developed a personal technique which he calls « angular art ».
His works are composed of straight lines carved into the wood through highly precise angular cuts.
They do not reveal themselves at a single glance: their perception evolves as the viewer moves.
As the viewer moves, they see new forms, contrasts, vibrations and transformations emerge. The artwork becomes a physical and sensory experience, where the gaze is never fixed and where the viewer becomes an active participant in what they are observing.
Resolutely contemporary, BrieucC’s « angular art » addresses one of the key challenges of our time: maintaining our connection to the tangible experience.
In a world where interactions, images and an ever-increasing part of our lives are becoming dematerialised, BrieucC’s work reminds us of the importance of direct experience: feeling, moving, taking the time to look and fully inhabiting the space.
By placing the body and the gaze at the centre of the work, the artist is not merely exploring perception and movement. He asserts that our relationship with the world is also shaped by matter, space, time and a sensory encounter with our surroundings. Presence thus becomes an essential dimension of the experience of the work.
At the heart of BrieucC’s approach lies an invitation to each individual to question their own way of seeing.
Every shift in position reveals a different interpretation of the work. Starting from the same object, the gaze successively constructs different perceptual realities: one form is revealed, another disappears, contrasts shift and the vision is transformed.
The artwork thus allows us to experience what BrieucC calls « multiple realities » : not distinct realities in the absolute sense, but perceptual realities that are constructed from unique positions and perspectives.
Without movement, the gaze remains tied to a given position and the interpretation it produces. Movement then reveals that this interpretation is neither unique nor definitive.
BrieucC invites everyone to broaden their perspectives and to recognise that our access to reality is never reduced to a single way of seeing.
« Only movement and our ability to open ourselves up to other fields of vision allow us a more complete understanding of reality and of ourselves »
BrieucC describes his creations as « living works ». It is in this sense that the work is not confined to the object alone: it comes to life in the relationship that is created between the material, the light, the space and the viewer. The viewer is invited to become an active participant in their own perception.
Evolution of the artist’s practice
Movement, artificial light and colour
In 2014, BrieucC began creating backlit works incorporating artificial light (white LEDs)
His research was already focused on movement, light and colour.
The artist designs works that evolve in space and time: by moving in front of them, the viewer causes the light to appear or disappear, reveals chromatic effects and perceives movements suggested by the work itself.
The viewer thus becomes an active participant in the experience. BrieucC plays with the viewer’s gaze, shifts their points of reference and creates moments of surprise and wonder, both in broad daylight and in dim light.
The work from this period can be categorised into three strands: kinetic, optical and contemplative. In the kinetic works, movement takes centre stage. The optical works, on the other hand, focus on the chromatic variations caused by the viewer’s movement and the direction of their gaze in relation to the cut-outs and the arrangement of the installation serving as a backdrop. The contemplative works place greater emphasis on the forms created by the cut-outs and the static colours that accompany them.
From artificial light to natural light
In 2023, BrieucC began a new chapter in his artistic practice. He moved away from artificial light integrated into the artwork in favour of natural light. Illuminated from the front, the artwork now reveals variations in contrast that replace the effects previously produced by backlighting.
His angular cut-outs form sets of sharp lines, organised into imaginary geometric shapes and fragmented perspectives. Depending on the intensity of the light, the time of day and the environment in which the work is displayed, the contrasts become more pronounced or softer. Chromatic nuances may also appear, notably bluish tones on cloudy days or at the end of the day.
The work therefore never presents itself in quite the same way. This element of variation, linked to light and space, contrasts with the rigour of its construction: though meticulously crafted, it nevertheless continues to evolve in response to its surroundings.
In 2025, whilst continuing the research begun in 2023, BrieucC developed a complementary, more minimalist approach. This new direction does not replace his previous work: it extends and broadens its possibilities. He reduced the number of angular cut-outs and varied their width, leaving more room for contrast and the movement of more refined forms.
He also introduced colour onto the panel. Colour is not merely decorative: it becomes a structural component of the work, conveying form and emotional charge. These new chromatic intensities and contrasting visual rhythms all contribute to a single aim: to enhance the viewer’s perceptual experience and draw them into a constant oscillation between stability and movement, between certainty and doubt.
From conception to perception
A unique artistic technique
Entirely handcrafted in his studio, BrieucC’s works are the culmination of a demanding design and production process, combining drawing, calculation, mastery of the material and precision of execution.
The creative process begins with drawing. Through numerous sketches and drafts, the artist defines his artistic intentions whilst taking into account, from the outset, the technical constraints specific to his work.
To design his kinetic works, BrieucC then draws on mathematics. This enables him to calculate, to the nearest tenth of a degree, the angles required for each cut in order to achieve the optical effects he has conceived in advance. In this way, he determines various virtual viewpoints, from which he composes the variations in form, contrast and movement that he wishes to bring to the fore.
The medium is a wooden panel, cut from the reverse side. This method produces a clean, precise cut on the visible face of the work. It does, however, require meticulous preparation: as almost all the angles are different, the artist must calculate the entry point of the blade at the back of the panel so that it emerges exactly where intended on the front. The length of each cut must also be adjusted according to the chosen angle and the thickness of the wood.
Once the calculations have been made, BrieucC produces the technical drawing and marks all the necessary reference points on the panel. He then makes each cut by hand, adjusting the angle of the blade for each cut.
Before applying any paint, BrieucC sand the inside and the edges of each cut-out by hand to remove any roughness from the wood and achieve a uniform finish. This stage requires time, precision and great patience.
The panel is then given up to eight coats of paint, each followed by meticulous sanding. This attention to every detail is essential for the sharpness of the lines, the depth of the contrasts and the accuracy of the perceptual effects.
For works without light, BrieucC incorporates an opaque black background. In illuminated works, the background consists of the artist’s other creations: acrylic paintings on wooden panels or printed digital compositions.
Finally, the frame completes the artwork. Conceived as a finishing touch, it emphasises the composition and complements the artwork’s presence in the space.
Technical precision is never an end in itself: it enables BrieucC to accurately produce the perceptual transformations he has imagined for the viewer.
Handcrafting is therefore not merely a choice of production method. It enables BrieucC to maintain, at every stage, direct control over the material, the angles, the light and the finishes – all elements that are inseparable from the precision and uniqueness of his works.