Artists

Geert Goiris, Fumimaro Ayano, Maria Saygua André

Press release

BEIGE is pleased to present a new group exhibition Reconfiguration with works by Fumimaro Ayano, Geert Goiris and Maria Saygua André. The exhibition places three practices alongside one another, each engaging with the shifting conditions of representation today. These practices are linked by a shift in how image, surface and material operate. No longer understood as transparent depictions of a pre-existing reality, they are approached as active conditions in which reality is produced and reshaped. Fumimaro Ayano (b. 1992, Japan) works with found images and everyday objects, which he collects and reworks into sculptural and installation-based constellations. Starting from photography and its history, he is interested in how images detach from their original context and circulate in new configurations. Rather than treating representation as given, he approaches it as something constructed through systems of language and classification. Through close reading of images and objects, he explores how meaning is produced within cultural and linguistic structures that shape how things are seen and understood. Geert Goiris (b. 1971, Belgium) occupies a distinct position within contemporary photography, where in his work the documentary image is destabilised through ambiguity and estrangement. His images depict landscapes, architectural forms, and figures that appear recognisable but remain unresolved. Through a precise and detached visual language, he constructs situations in which scale, time and spatial relations become uncertain. Rather than confirming what is seen, his work explores how perception is shaped and conditioned, and how images produce unstable readings of reality. In her work, Maria Saygua André (b. 1996, Bolivia) develops a practice shaped between the Andes and the Western context in which she now lives and works. Rooted in this dual positioning, her work engages with how cultural knowledge is transmitted, transformed, and embodied through making. In her installations, textile works, and sculptures, she creates situations in which image, material, and gesture are not separate registers, but intertwined modes of knowledge production. Meaning emerges through use, repetition, and transformation, where cultural forms are continuously reworked rather than fixed. Together, Reconfiguration approaches representation not as depiction, but as something continuously produced through shifting relations between image, object, and language. Rather than forming a shared position, the exhibition brings these works into proximity as different ways of constructing and unsettling meaning. Within this constellation, looking, thinking, and material or visual forms continuously inform and reshape one another.