DUO ACCESS
Filippo Moroni & Tycjan Knut
10 January – 1 March 2026
Curated by Louis Buysse
Buysse Gallery, Knokke
DUO ACCESS brings together the practices of Filippo Moroni and Tycjan Knut in a quiet yet precise encounter between sculptural and painterly abstraction. The exhibition unfolds across a minimal scenography, inviting a slowed and tactile form of viewing.
Moroni’s dense, velvet-covered works approach the surface as skin — intimate, contained, materially ambivalent. Knut’s layered chromatic paintings operate at the edge of perceptual threshold, offering tonal structures that reward duration over immediacy.
Rather than framing a theme, DUO ACCESS establishes a condition: access is partial, withheld, and negotiated. The dialogue between these two artists emerges through contrast — not in subject, but in pace, surface, and spatial tension.
The exhibition continues Buysse Gallery’s focus on material presence, negative space, and visual reduction. It asks not to be read, but entered slowly.
DUO ACCESS marks the convergence of two practices that resist immediacy in favour of calibrated restraint. Presented at Buysse Gallery, the exhibition draws a visual and material dialogue between the sculptural compositions of Filippo Moroni and the chromatic abstractions of Tycjan Knut. Each artist engages a language of reduction that privileges texture, structure, and perceptual delay over narration or overt symbolism.
Filippo Moroni's works approach the surface as skin - not merely in appearance, but as a performative tension between exposure and concealment. Often employing expanded polyurethane foam and velvet, his forms evoke a corporeal stillness. The velvet, with its historical associations of luxury and sensuality, is used here not as ornament, but as material boundary. The foam, in contrast, expands and resists containment. This tension between the organic and the constructed, the fleshy and the refined, reveals a sculptural logic that is as much about process as it is about form.
Tycjan Knut's practice emerges through a quiet chromatic discipline. His paintings, often built from repeated layering and erasure, suspend the viewer's gaze between surface and depth. Formally minimalist, his work resists closure. Instead, the paintings operate as open fields: soft geometries, calibrated tonalities, subtle thresholds between presence and absence. Knut's minimalism is not an aesthetic shorthand, but a philosophical decision. It is a refusal of visual noise, a commitment to the long arc of looking. While his broader oeuvre spans bolder gestures, the selection here privileges his most refined visual registers - moments where light, tone, and rhythm become the primary content.
Together, these two practices generate a shared space where access is partial, provisional, and precise. The exhibition title - DUO ACCESS - refers not only to the dual structure of the show, but to the manner in which the works make themselves available: gradually, in fragments, through the tactile grammar of their making.
The scenography of the exhibition mirrors this ethos. Works are placed in relation rather than in sequence. Emphasis is given to spatial rhythm and negative space. The absence of interpretive wall text is intentional, inviting the visitor into a non-verbal encounter. What links Moroni and Knut is not theme or iconography, but material consciousness and an economy of means. Their dialogue is built not on comparison, but on proximity - on what remains unsaid but materially present.
Within the Belgian context, where a lineage of abstraction, concrete art, and material formalism remains influential, DUO ACCESS positions itself with measured clarity. The exhibition extends Buysse Gallery's commitment to minimal and materially-sensitive practices, following projects such as Abstract Transformations, Tidal Flux, and Shift. Yet it also introduces a sharper reduction - a quieter intensity, rooted in both visual tactility and formal sobriety.
DUO ACCESS does not ask to be interpreted; it asks to be stayed with. It is an exhibition shaped by slowness, by refusal of spectacle, and by a trust in the perceptual intelligence of the viewer. Access, here, is neither total nor withheld - it is earned, over time.
