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Ayrton Eblé

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︎︎︎... Was Here 

... 𝘞𝘢𝘴 𝘩𝘦𝘳𝘦, 2024
60 x 70 cm

Bow A Head, Tarmac, Meerhout

This neon in-situ installation commemorates the building that once stood inbetween the main exhibition building and the structure housing the toilets. When asked about the reason of it’s demolition, besides unclear explanations about safety hazards and facilitating access for the fire department to the back of the nearby town hall, no conclusive answer could be given.

... Was Here, created for the exhibition "Bow A Head," is now a permanent part of  the building housing Kunstcollectief Tarmac.

The exhibition Bow A Head was curated by art critic/historian Tamara Beheydt and artist Guy Van Bossche and was organised in collaboration with Annie Gentils Gallery.

With the support of the Flemish government

Pictures by Andreas Stieglitz

︎︎︎VESSELS (delivery vans)

VESSELS (delivery vans), 2024
Spray paint and markers on cardboard
Dimensions variable

20 years Kunsthal Extra City Antwerpen

"VESSELS (delivery vans)" is a participatory installation designed to be part of a nomadic trajectory, activating the installations across multiple neighborhoods. This project transforms cardboard delivery vans into mobile platforms for a collective creative process. 

By embedding the installation within various neighborhoods and engaging with diverse demographics, "VESSELS" becomes a catalyst for social interaction. Inspired by the graffiti concept of the “wholecar,” where graffiti artists cover an entire vehicle, this project signifies not only the physical transformation of these vans but also their role as conduits for delivering experiences and goods.

With the support of the Flemish government

︎︎︎Zwart Zaad (conversation piece)

Zwart Zaad (conversation piece), 2023
Park bench, sunflower seeds, hand-printed paper bags
Dimensions variable

NICC x 25 , S.M.A.K., Ghent

Translated from the Dutch proverb "op zwart zaad zitten" (literally translated: "to sit on black seeds"), it means to be broke or have little to no money. The origin of this proverb originally stems from something that would be said about birds in a birdcage. Birds peck at the seeds in their feeding tray, first selecting all the white seeds and leaving only the less tasty black seeds in their tray.

The practice of eating sunflower seeds, a custom shared by various cultures and performed as a public ritual, is sometimes stigmatized. The reference to the Dutch proverb highlights the "negative" connotation but aims to ridicule it. The act of sharing stories and people bonding over it underscores a stronger aspect of this ritual, which is emphasized by leaving the empty shells as a testament to togetherness.

The participative installation was created for the exhibition NICC x 25, a multi-layered event that took place at S.M.A.K. Ghent, celebrating the silver jubilee of NICC. To quote from their website: "This event marks a milestone for our artist-run organization, which has been dedicated to individual artists since 1998. [...] NICC x 25 reflects a moment in time when archive and aspiration converge."

On the occasion of this event, a publication with the same name as the event was released. This publication revolves around the NICC memorandum, advocating for the recognition of the social role of artists and providing concrete proposals to actualize this recognition. Subsequently, the publication was presented to policymakers and politicians in the Flemish cultural sector.

You can get a copy of the publication here.

Curated by Kasper De Vos, Céline Mathieu and Younes Baba-Ali

Organized by Nieuw Internationaal Cultureel Centrum (NICC)

First picture by Bram Callaert
Installation view pictures by Anyuta Wiazemsky Snauwaert

︎︎︎Creeping Ivy (ancient graffiti)

Creeping Ivy (ancient graffiti), 2023
90 x 85 cm


'Creeping Ivy (ancient graffiti)' depicts an image that can originally be found in the archeological site of Smyrna in present-day İzmir, Turkey. More specifically, the ancient ink drawing was found in the basement of the Basilica which lies at the heart of the Agora and can be dated back to approximately 200 AD. The meaning of the image is hard to define since the study of ancient graffiti has only gained momentum over the past two decades, but it is difficult to attach definitive meaning to an individual’s scribblings.

Commonly associated with ivy leaf in Ancient Greece was Dionysus, god of wine-making, ecstasy, fertility, theatre and festivity. Often depicted on objects used during marriage rituals, ivy held a strong association with love and fertility. Being an evergreen plant creeping ivy was also associated with immortality and fidelity since the plant is hard to stop from growing and prefers to grow on steep surfaces like walls and facades, as does graffiti.

With the support of:
Vlaams Architectuurinstituut and Het Bos

Additional pictures by Johan Pijpops

︎︎︎Highway Harmony

Highway Harmony, 2023
Steel structure, traffic signs, wood panels and spray paint
390 x 805 x 73 cm


        Co-created with Justin Dirkx

In collaboration with:
Nourah, Happy, Jay, Favour, Yassin and Liam

'Highway Harmony' is a collective creative production. The monumental installation mimics a higway structure which served as a canvas for a two-day workshop with teenagers (ranging from 15 to 19 years old) from youth organisations Betonne Jeugd en Boslabs. They were invited to express themselves freely without a predetermined theme or intention.

With the support of:
Vlaams Architectuurinstituut and Het Bos

Special thanks to Betonne Jeugd VZW, Boslabs and DE SINGEL arts centre

︎︎︎Vijf cirkels (Burglar sign)

Vijf cirkels (Burglar sign),  2021
Spraypaint on wall
80 x 90 cm

︎︎︎Construction Painting: (Dromenvanger): Inverted View

Construction Painting (Dromenvanger): Inverted View,  2021
Concrete, metal, natural dye, wood and traffic cones
Point Of No Return, 252 CC, Antwerpen, Ekeren

The starting point for this sculpture was the information sign placed at this location in the park by the local local parks and green space department. Similar to the signs along many Flemish highways indicating green growth sites, it contains two look-holes that focus on the landscape. By filling in these "peepholes," the gaze shifts to the surroundings, making the work look back at the viewer and making them aware of their own position in the landscape.


Deurmat, 2021
Anti corosion spray paint on metal road plate, placed in front of Cultural District
Point Of No Return, 252 CC, Antwerpen, Ekeren

︎︎︎HYDRA (collision)

HYDRA (collision), 2021
Damaged motorcycle helmets on steel frame

HYPERMARKET, Kunsthal Gent

︎︎︎(Another) modern display

(Another) modern display, 2019
Spraypaint and angle grinder traces on billboard
De Wilde Expo, Noordkasteel, Antwerp

︎︎︎Construction Painting: Pressure Pact

Construction Painting: Pressure Pact, 2019
Wooden plate, construction prop - dimensions variable
De Zevende Kunstwerf
, project at a friends house, Antwerp


Action - May 2018 - Antwerp, various locations
Installation - Single-channel video, 16:9, 1080p, 8:09 shown on loop, two channel audio - 2019

Graduation show 2018 Masters Sint Lucas Antwerpen

︎︎︎Verboden te graven 

Text (ENG):
Exhibition proposal Ayrton Eblé '15 jaar Artistieke Opleiding' 15/12/2015

Project name: 'Graf van de Creatie/ Tombe de l'Art/ Friedhof der Kunst’

The idea for this project is to dig a hole according to the dimensions of a dumpster container (540 x 245 x 145 cm). This size refers to the dumpster container at the back of the school in which students school projects unintenionally used to end up in if they weren't labled clearly enough. Most of the time this was the result of an overzealous cleaning staff and tidy teachers.

The hole will remain empty during the length of the exhibition. Afterwards the hole will be filled with soil and grass seeds. A sign stating the title will be placed in front of the hole (copying the Middelheim Museum's information signs design) The project will be documented afterwards and placed on my website.

I hope my idea will be approved by the coordinators and I look forward to hearing your response.

Kind regards,

Ayrton Eblé
Sign, wood, barrier tape, printed project proposal, shovel, 2016
15 jaar Artistieke Opleiding, De ! Kunsthumiora, Antwerp

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