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Group exhibitions include (Upcoming) Tainted Love, Kristin Hjellegjerde Gallery, London, UK (2026); Three Balloons Rising Above The Tree Line, 22a Gallery, Herent, Belgium (2025), A Gathering of Strangers, Delimbo, Seville, Spain (2025), 13-a-dozen, curated my Joachim Lambrechts, Better Go South Gallery, Stuttgart (2024); Coffee at Bedale Street, Cohle Gallery, Paris, France (2023); The Armory Show, Javits Centre, NYC, USA (2023); Drawing Room, Geukens & De Vils, Knokke, Belgium (2022-2023), Uprising, Kristin Hjellegjerde Gallery, Schloss Görne, Germany (2022); art Karlsruhe, Rheinstetten, Germany (2022); Duo show with Rune Christensen, Galerie Wolfsen, Denmark (2022); Drawing Room Lisboa, cur. Jan-Philipp Fruehsorge, Foco Berlin, Berlin, Germany (2021); In us we trust, Breach, Miami, USA (2021); Facing the Sun, Kristin Hjellegjerde Gallery, Schloss Görne, Berlin, Germany (2021); Enter Art Fair, Tunnel Factory, Nordhavn, Denmark (2020); This is Not a Zoo, Permanent & travelling exhibition, Canary Islands, Santa Cruz de Tenerife, Spain (2019); Street Masters 2, Art Gallery, Knokke, Belgium (2018); Under Bridge Group Show, Styleconception, Innsbruck, Austria (2018); Included in the year exhibition of 19Karen Gallery, 19Karen Gallery, Gold Coast, Australia (2017); Street Masters 1, Art Gallery, Knokke, Belgium (2017); MCA-DAY, MCA-Day, New York, America (2016); Urban Et Orbi, Perry Kish Fine Art Gallery, Heerlen, The Netherlands (2016); Underground Group Show 2, Graffitistreet, London, UK (2016); Underground Group Show 1, Graffitistreet, London, UK (2015). Collaborations include Heverlee Beer, Glasgow, Scotland (2018); MOA_Masters Of Arts, Milan, Italy (2017); Hotel Bloom, Brussels, Belgium (2017), Balls&Glory, Eindhoven, The Netherlands (2016).Highlights and CollectionsHis work can be found in international private and public collections, including the Colección SOLO, Bunker Artspace Museum, US, and The House of KOKO, London, UK, Hearst Collection and Easton Capital Collection
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There is an underlying critique of consumerism that runs through much of Lambrechts’ work, but ultimately, he suggests, these paintings are about moving forwards: ‘Not just physically, but mentally, emotionally, professionally. That urge to take steps, to make progress — in whatever form. I feel that drive deeply within myself, and I believe many others will recognise it too. Each vehicle in these paintings becomes a symbol of that momentum, that direction, that inner push to get somewhere.’Within this context, the flames erupting from these vehicles become emblems of the friction that inevitably arises once you set yourself in motion, and of the passion and determination required to overcome it. They acknowledge that no path, however it may appear on social media or in the press, is without setbacks or effort. The windsurfer with a burning sail still glides forwards; the helicopter remains airborne despite the flames leaping from its cockpit. What Lambrechts is capturing is less a crisis point than a flash of intensity, the threshold at which, metaphorically speaking, there’s no turning back.While this resonates more broadly in our current political and socio-economic climate, Lambrechts’ paintings are not cautionary tales so much as calls to action. Rendered in his bold, graphical style, they celebrate the energy it takes to propel ourselves forwards, to simply move from one moment to the next.
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Joachim Lambrechts: The Need for Speed
Current viewing_room
