carlier | gebauer is pleased to present CHAOS, the debut solo exhibition of Belgian artist Stevie Dix, which unveils new multi-panel paintings intricately fashioned from a blend of oil, wax, and charcoal in rich, earthy tones, each layer whispering of depth and intention. These works traverse the fine line between structure and spontaneity, capturing the intricacies of the inner self while reaching toward the universe’s vast mysteries, inviting reflection on the delicate interplay of the known and the unknown. 

Each panel weaves into a larger narrative, evoking a graphic novel while drawing inspiration from geometry and anatomy. The juxtaposition of precise architectural lines with fluid, organic forms reflects Dix’s aim to create a dialogue between them, where each element speaks to the other. This interplay blurs the boundary between the familiar and mysterious, suggesting anatomical elements alongside cosmic landscapes, inviting reflection on the connection between them.

To further illuminate her artistic vision, she articulates that her work, while not directly derived from comic strips, conveys a story that encompasses both the environment surrounding a central figure and the inner feelings that define it. Reflecting on her admiration for Pierre Alechinsky, she describes him as an “extension of Belgian cartoon culture,” whose painterly interpretations echo the narrative quality of comics while eschewing strict forms. Fashion, too, plays a key role in her life as a form of escapism and self-expression, fueling quiet rebellion and provocation. Her love for vintage clothing and sewing is a therapeutic outlet and central to her identity. Growing up near designer Martin Margiela, she found inspiration in his success, transforming her initial anxiety about living in a small town into creativity. She also explores 1970s surrealist animation, influenced by figures like René Laloux and Suzan Pitt, blending past styles with her own artistic practice.

This exhibition explores the emotional turbulence of human existence and the theory of chaos, suggesting that disorder is not merely the absence of structure but rather a delicate balance between order and impulse. As she notes, CHAOS “embodies the turmoil we all experience, yet within that chaos lies the potential for harmony”. The paintings invite interpretation, leaving open whether they explore the mind and body or the mysteries of the cosmos.

Ultimately, her work bridges the gap between personal and universal chaos, providing a nuanced reflection on the interplay of internal experiences and the external world. She invites viewers to question whether they are exploring the depths of their own selves or the vastness of the universe—or perhaps a profound convergence of both. In this way, CHAOS becomes not just an exhibition, but a mirror reflecting the complexities of existence, urging us to embrace the chaos within and around us.