Gabriella’s primary medium is painting, but she also specialises in assembled sculptures, installations, multimedia artwork, both as stand-alone pieces and as sustainable crypto art.

Van Landeghemstraat 86 B-9100 SINT-NIKLAAS Belgium
+32 477 280 562

Gaby's Atelier
  /  About Gabriëlla

Who is Gabriëlla Cleuren?

As a result, a staggering number of paintings have been made, Gabriëlla’s modern-day fragments bear a striking resemblance to the 19th-century painter Goya, sharing the same philosophy and vision.

Human behaviour often indicates no signs of improvement, and we seem to be going in circles. Gabriëlla is able to transcend time by using precisely focused emotional pixels. She has an innate way of handling colour, in direct contrast to the modern machine, groundbreakingly representing herself in programming language and writing. Feral pixels. Emotions rather than “E-motions”.

Cleuren’s paintings have received worldwide attention in Belgium, France, the Netherlands, Germany, and England, despite the fact that they remain a well-kept secret. She joined the Rainforest Art Foundation in 2016 and was awarded the Red Line Art Works award in 2017.

Inside World (Virtual Worlds & Objects) and Outside World (BNOW & Filled Emptiness) are the two parts of her work. She works quickly and spontaneously in a very truthful expressive way for Inside World, kind of like a diary, often sweet and flowing, often harsh. To the bone, artistic freedom. The imperfect is very human. Her response to the cold environment we live in is her Outside World. Pixels that strike the psyche with their warmth and concentration.

Gabriëlla's Vision

Today, painters do not work anymore according to nature – making sketches takes too long, we just contend with photos. But then of course you run the risk of just making a copy of a photo. Gabriëlla encounters many online, which technically can turn out pretty nice, but to her, this is not art. It is rather a métier. 

The first step in art is perception, or total transformation, which refers to mental indoctrination or alteration. Unconscious elements creep into the artist’s work through this process, giving it its charm and inner layeredness. As a result, pictures that are illustrations of a meaning that wish to be conveyed are often used in contemporary art. This is salonfähig, but not for Gabriëlla.

Gabriëlla thinks this is too simple for her. She treats art as a major discovery. A natural jolt of appreciation for a split second. With the discovery comes the controlling of it, representing its aesthetics. Communicating it to the audience comes later. Gabriëlla compares her process to that of filmmaking.


If you would like further information on prices, collections, appointments and exhibitions…



2017 Red Line Art Works Award

2012 Laureates Piet Staut Award

The New Beginning

Get in touch and book a private view of Gabriëlla’s latest exhibition The New Beginning.

Selected Solo Exhibitions

2021 The new Beginning

Name of gallery? Sint-Niklaas, Belgium

2017 New old world

Gemeentemuseum Temse, Belgium.

2015 Brave new old Worlds

Galerie Navart, Sint-Niklaas, Belgium

2013 Het Huwelijk, Sculptures

St-Nikolaaskerk, Sint-Niklaas, Belgium.

2013 About the light

St-Nikolaaskerk, Sint-Niklaas, Belgium

2013 Lost worlds

Foyer Stadsschouwburg, Sint-Niklaas, Belgium

2011 Brave new, old World

SDworx, Antwerp, Belgium.

2020 Reflections, Stedelijke Musea

Sint-Niklaas, Belgium

2017 Brave new old Worlds

Centre Culturel de Mouscron, Belgium.

2014 Brave new old Worlds

Kasteel Cortewalle, Beveren, Belgium.

2013 Filled Emptiness

New Place Art Gallery, Den Bosch, Netherlands.

2013 Brave new old Worlds

St-Nikolaaskerk, Sint-Niklaas, Belgium.

2012 Virtual worlds

Espace Tendances Liège, Belgium.

2011 Virtual Worlds a diary

Clancy bvba, Sint-Niklaas, Belgium.

Selected Group Exhibitions

2018 Artglobe

Brussels, Belgium
St. Pauls Cathedral, London

2013 Der weibliche blick

Kunstverein Isernhagen, Germany
With German artists under the direction of curator Dagma Detlefsen. Hittfeld, Hamburg, Germany.
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