Sara Greet Gilis— Artist
Service, not Self, 5 tons of Flemish clay, 2017
This circular construction was hand built in the course of two weeks. The public could enter and walk around it. The wetness of the clay combined with the outer temperatures caused the construction to become physical, causing a mix of sensations depending on the weather and the drying process of the clay. The room was filled with damp and smell which -depending on the outside temperature- caused a sauna-like or airconditioned state.
The clay is dug in the region of West Flanders and is used to create bricks and roof tiles. It was borrowed and returned to the factory. The clay now relives as bricks and tiles in Flemish houses.
Passtukken, clay, 2018
Clay parts used as fitting pieces for the female body and the attempt to walk, stand, move with them.
Milk Fountains, 7 barrels, fountains and milk, 2017
This installation with seven milk fountains slowly takes over the space it is in by the milky foam that the fountain produce. The area is filled with a milky smell and a sense of softness, until time does its work and the milk turns sour.
Corps Etranger, video, 5'
A ‘corpus alienum’ or ‘foreign body’ is in its strictest sense an object that penetrates the body.
In the video, the camera is the external element registering bodies moving and interacting. The bodies fall apart in abstractions, notions of attachment and sexual connotations.
Boob Country, 2018, VR installation
Boob Country is a virtual reality work in which the spectator is seated on a comfortable boob-like cushion, to be immersed in a parallel universe of soft flowing boobs squirting milk.