Collage and found object art often comes to the fore during periods of significant social change. Our times certainly seem
to fit the bill. It’s a junk culture, a conservative, complicated,
often sickening period of existence. So when the gut response to Tessa De Ceuninck’s work is tenderness, we’re surprised and gratified.

Her works on paper, made from a vast library of images and references placed just so, are small, meaningful statements.
It’s a liberating choice of representation, physically 2 and symbolically 3d. It’s a pop method, but reimagines the inherently passive, disposable nature of the genre, making a new story with the viewer as co-conspirator. There’s no pretense to her work, no sweeping declaratives. It’s suggestively erotic but not repressively sexualized; bold yet witholds judgement.
A nice way to feel.

It’s not necessary to reference other artists (but really fun to do) when considering her work - that influence has become a running dialogue insofar as it provides continuous regenerative source material. A characteristic that makes room for memory without being a slave to it.

Tessa De Ceuninck’s work is peculiar, romantic, anguished,
and uneasy. And it’s a way of reaching out of the dark, in these, our strange days. constructed with an almost naïve simplicity, and that is exactly what makes her work so intriguing.
She does not need more than a couple of images and some simple cuts (and some occasional black or white ink) to create unique images revealing her strong sense for shape and composition. With clear simple interventions in (seemingly) insignificant images, Tessa documents the vastness, the detail, the randomness and the beauty of life.

Diana Kim