Monica Piloni (b. 1978) is a Brazilian sculptor currently based in Brussels and active on the international stage. Her work evokes feelings of discomfort and unease. Since the beginning of her career, Piloni uses the female body, perfectly proportioned according to contemporary ideals, as a device to transmit her critique on today’s age. The idealized body becomes dismembered and torn, envisioning a ghostly whirlwind of contorted flesh and emotions.
The sheer feminism encompasses only the first paragraph of her narrative. Upon closer inspection, her sculptures open up to a more universal discourse of our daily lives—the ubiquitous unease induced by war, neoliberal capitalism, dehumanizing technology, and the shifting of power structures toward hyper-male conservatism. With her sculptures, Piloni says, “Look at the reality we are facing,” yet not without a certain irony. The mangled bodies were created by society itself. The snake bites its tail.
At High Numbers Gallery, Piloni exhibits ‘Odd’ and ‘IdEgoSuperego 20%’, both made of bronze. For Odd, Piloni used her own body during the model-casting and created a radial rather than asymmetrical being. The body points in all directions yet remains faceless; elevates in the air like atransient being yet sits on crutches. IdEgoSuperego20% takes its shape from the scorpion pose in yoga. By once again creating a triangular shape, Piloni alludes to a viscious circle where the ego struggles to feed its own growth and demise.
Although generating a raw and unfiltered view of the body and the world we live in, Piloni’s work remains poetic and sensual. The viewer becomes perturbed but not repulsed. Reminiscent of classical allegories, Piloni merges operatic drama with Eastern resignment. All figures maintain nonfunctional anatomies, reflecting how incapable we as humans have become to evolve—yet flexible at the same time, always adapting to the turmoils of life.
Bronze
Unique work
127cm × 170cm × 74cm
High Numbers Gallery
1800
More info
Bronze
5/20 (trios)
12cm × 15cm × 18cm (each)
High Numbers Gallery
1800
More info
Bronze
Unique work
180cm × 96cm × 96cm
High Numbers Gallery
Price upon request, rental options possible
More info
Price upon request, rental options possible
Bronze Unique work 180cm × 96cm × 96cm
1800
Bronze Unique work 25.4cm × 34cm × 14.8cm
Robert Karl Illiovári, known under the pseudonym Roy Kill, is a Swiss-Bulgarian painter and draughtsman who moves through the world as both witness and fugitive, lingering where opulence meets oblivion. A restless observer of the exquisite debris of the beau monde, he drifts through Zurich, Monaco, Palm Springs, and Medellín’s most rarefied enclaves, never quite belonging. His chosen subjects speak not of what is permanent, but of what is destined to vanish.
Roy Kill’s oeuvre captures the essence of superficiality, wrenching it from its deepest roots and laying it bare on canvas and paper. Rejecting all pretence of profundity, he has no interest in depth, only in the echoes of surfaces—an aesthetician of the void, a chronicler of gloss. His work elevates ephemerality to the status of permanence, treating the fleeting not as something to mourn but as the only enduring truth worth preserving. Both decadent and incisive, it is an homage to the beautiful ugliness of our impermanent minds and world.
Though quite active in the 1970s, Roy Kill never sought the stage, avoiding both the critical spotlight and the gravitational pull of fame. His sudden disappearance from the scene only deepened the mystery—was he too close to discovery, too disinterested to seize it? Or was he hiding something, a man who walked the thin line between observer and voyeur, capturing the world with a gaze that is both detached and intimate?
What we do know is this: he never stopped drawing. His tools—ink, brushes, and a pocketful of pencils—always within reach, ready to commit a moment to paper before it dissolves into memory. He does not refine; he does not reconsider. The first stroke remains, uncorrected, unrepentant. His surfaces become immediate sites of execution, each piece spontaneous, unburdened by hesitation, untouched by regret.
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Acrylic paint on cardboard (framed)
Unique work
180 cm x 120cm
High Numbers Gallery
6000
More info
Acrylic paint on cardboard (framed)
Unique work
180 cm x 120cm
High Numbers Gallery
6000
More info
Acrylic paint on cardboard (framed)
Unique work
180 cm x 120cm (framed)
High Numbers Gallery
6000
More infoPrice upon request, rental options possible
Bronze Unique work 180cm × 96cm × 96cm
1800
Bronze Unique work 25.4cm × 34cm × 14.8cm
Jørgen Missotten is a Belgian artist with a strong fascination for the surface of light. Both his painting series Clouds and Peeling Light frames the view of the audience on perfectly abstract monochromes in which the reflection of light symbolises the mirroring of the inner self. Provoking introversion, Missotten himself works in complete solitude from his home outside the city of Brussels with a framed view on the greenery of the local nature.
Missotten started off as a sculptor with a strong affection for raw materials such as black marble. His sculptures, meandering between design and art, gained international acclaim and consisted of meticulously polished surfaces that would reflect the light so adamantly that the three-dimensional stance of the material would disappear, reducing the marble into a two-dimensional surface. In recent years he translated this light-effect onto the canvas; painting being the blueprint for his creative endeavours since the beginning.
With his paintings, he now forces the light into a frame, creating condensed images for the viewer to immerse. In Clouds, Missotten portrays the dispersed light from thick cumulus and layers planes of paint into minutely detailed gradients. With Peeling Light, Missotten scrapes off a very thin slice of sun-ray and presents it as if under a microscope. Convinced that the coincidental shapes of nature are far superior to man-made objects, his act of painting consists of an accidental gesture of the brush during a meditative state of mind, attempting to flee away from any cultivation into the realm of pure natural self.
More information or price request:
hello@highnumbers.com
Price upon request, rental options possible
Bronze Unique work 180cm × 96cm × 96cm
1800
Bronze Unique work 25.4cm × 34cm × 14.8cm
Bemelmans Design is a Belgium-based studio founded one year ago by designers, and former classmates, Wout Bemelmans and Lode Debackere. The studio focuses on high-end collectible design which is completely made by hand in Belgium. Their first series called The BOLD Collection consists of elementary design objects made of solid wood and vibrant lacquer, intertwining primitive and modernist typologies into contemporary archetypes.
Bemelmans used the condition humaine as a starting point. Being trained as designer and a psychologist, he analysed the current temperature of society and came to the conclusion that people crave for reconnection both on an inter-human and man-to-object level. During his quest to translate this tendency into furniture, he reminisced about the bare furniture his grandfather, a farmer, made for daily use. This heritage would finalise the aesthetics of the young designer.
In terms of composition and construction, Bemelmans’ work marks the conjuncture of brutalist architecture and vernacular design. The materials and techniques of the recent and the far past — woodwork and Danish rope-weaving — are contrasted with rounded corners and a softening lacquer, creating a specific visual identity that provokes feelings of gentleness and humaneness. Furthermore, Bemelmans uses colour as a material. Eschewing pre-existent schemes, he instead searched for meticulous hues that would layer the object instead of covering it. In short, Bemelmans Designs The BOLD Collection bravely sets out to seek balance in today’s current of extremes..
More information or price request:
hello@highnumbers.com
Price upon request, rental options possible
Bronze Unique work 180cm × 96cm × 96cm
1800
Bronze Unique work 25.4cm × 34cm × 14.8cm
Tom Andries (1969) is a Belgian multidisciplinary designer and contemporary artist. His main body of work consists of abstract monochromes painted with black ink. Originally trained as a typographer and having made a generous career in graphic design and branding, Tom uncovers the hidden beauty of typography, by zooming in on its intrinsic abstract qualities. Inspired by minimalism, modernist painting and mid-century architecture, his work reflects an ongoing quest towards the absolute bare essence of art.
The proof is in the painting. The largest part of Tom’s work-process is absorbed by the meticulous preparation of a heavily texturised black ink – a mix of acrylic, Indian ink and charcoal – which he generated himself and has perfected over the years. The act of painting consists of but a few sudden and concise strokes of the heavy brush within a short frame of time, referencing to gesture painting. All is done in complete silence.
For the exhibition Hidden Landscapes of Letters, also the title of his monograph, Tom delves deeper into the very essence of typography: the grid. Every letter is shaped in relation to a certain framework. By using standard DIN paper A-formats and common canvas sizes, the work-field of the letter becomes even more part of the composition. Also for the first time, Tom has painted solely the grid and not the letter, wandering through the landscapes of pure form.
More information or price request:
hello@highnumbers.com
Price upon request, rental options possible
Bronze Unique work 180cm × 96cm × 96cm
1800
Bronze Unique work 25.4cm × 34cm × 14.8cm
