Born in 1985.

Live and work Brussels.

In his practice Thomas Depas manipulates the image, through mechanical, chemical and transcoding operations. He enters a quest for the way it is structured in order to reveal its physicality. Depas first studied the pixel image, which is flexible and reconfigurable infinitely and then the silver image as a film-lab practice. He develops a language by mediation of, among others, the tool, the machine and information. Depas maintains a sensory approach to the textures of moving images – Film and Digital Art, investigating the relationship between technology and the living.

Thomas Depas’ work represents “the image” as a product of an internal and material process. It is precisely in confronting us with an artificial object, that on the one hand is final and on the other hand carries the marks of how and with what it has been produced that we can perceive Depas’ longing for the authentic and need of removal of an hierachization of the final product above it’s process, as romantic and political at the same time.

His most recent works are interactive installations in which a single spectator is given the possibility to enter a visual dialogue with the machine. Watching these “conversations”, we see a mysterious ballet between physical and artificial

intelligence that flirts with transhumanist ideas in which body and machine connect and produce image together.

Depas grew up in Belgium, the birth craddle of the industrial revolution on the European continent and more precisely in a rural part of the province of Liège, where for example the first steam engine on the European continent went into action in 1720. It was used to draw out waste water from a coal mine. We can only imagine that this artists’ ongoing tête-a-tête with “the machine”, his interest in the buried layers of materiality it can be used to uncover and the valorization of production steps, seeded in this environment.

Cursus

After ESA Saint-Luc in Liège, with Visual Art as focus, Thomas Depas then studied at HELB-INRACI (Haute école libre de Bruxelles – Institut de Radioélectricité et de Cinématographie), from which he graduated in Cinematography in 2012. He then joined the LABO bxl, a research and experimentation collective around the film as medium, and the FABLAB of the IMAL (Interactive Media Art Laboratory).

In 2019, he graduated from the Fresnoy Studio National des Arts Contemporains de Tourcoing and presented his first solo show “loss Landscape” at the Damien & the love guru gallery in Brussels.

Solo Exhibition

2020 no tears in the loss landscape, Fédération Wallonie Bruxelles, Paris
2019 loss landscape, Damien & the love guru, Brussels

Collective Exhibitions / Screenings

2020 Rencontres internationales Paris/Berlin
2020 IFFR Rotterdam
2019 Panorama 21, Le Fresnoy – Studio national des arts contemporains, Tourcoing
2019 Festival Parallèle, Marseille
2018 Panorama 20, Le Fresnoy – Studio national des arts contemporains, Tourcoing
2018 FIDMarseille, Marseille
2017 After Affects , Air Antwerp, Antwerp
2017 Wrong parallels , Galerie Jeune Création, Paris
2016 Les Sept Périls Spectraux , Arnaud Deschin Galerie, Paris
2016 Rainbow Ranch Hand, FRAC Nord-Pas de Calais
2016 RUN RUN RUN, Villa Arson, Nice
2016 Collectif Labo, OFFoff art cinema, Gent
2016 Iconic Echo//Homage to Francesca Woodman, Théâtre National, Brussels
2015 Collectif Labo, Cinema Nova, Brussels
2015 Shifting Ground with Emmanuel Van Der Auwera, CLOVIS XV, Brussels
2014 Confort moderne Group Show, CLOVIS XV, Brussels
2014 Spookhuisje , Cactus Muziekcentrum, Bruges
2014 Collectif Labo, Cinema Galeries, Brussels
2014 Collectif Labo, MAAC, Brussels