Dominique de Cock's works incorporate elements like dust, air, and shadow on wax and tissue papers to capture the imprint of time. The transparent nature of these materials is akin to the idea of turning air into tangible forms: a process evoking nature's ephemeral qualities.
Her sculptures in steel wire and paper are equally fragile and react to the slightest movements.
Lately, de Cock has been studying the impact of memory on identity. Does my memory inform me, and how?
Serendipity emanates from the improbable pearl shapes that she creates when applying water to wax paper, revealed into existence by dust.
Belgian born artist Dominique de Cock began her career in Brussels by creating giant pastel drawings of dogs and elephants, works that grappled with the duality of nature’s wisdom and the banality of daily life. Exhibitions of her work followed in major galleries, including A.Monet, Mediathèque Passage 44, and Galerie Tetra.
In 1984, she was the recipient of a research grant from the TAMAT - Musée de la Tapisserie et des Arts Textiles de la Federation Wallonie, Bruxelles.
De Cock taught life drawing classes at various Brussels academies while working as a set designer for the Theatre National de Belgique, The Royal Koninklijke Schouwburg in The Hague, and the Staatstheater Stuttgart. In 1987, she presented her set design maquettes at Rouge Cloitre Bruxelles in the exhibition “Quatre scénographes “.
Moving to Long Island in the early 1990s, de Cock continued her career in stage and costume design for several theater companies, including Odd Fellows’ Productions at Robert Wilson’s Watermill Center, Bay Street Theater, and the John Drew Theater. From 1997 till 2019, she was the production designer at the East End Special Players, a special needs actor program.
De Cock was one of the founders of Ninbark International, Environmental Concepts—which received a New York State Council on the Arts Jump Start the Arts grant. The collective exhibited at the Huntington Arts Council and Ashawagh Hall in East Hampton, NY.
Moving to New York in 2010, she translated her theater and costume design experience into the fine arts by creating garment-like sculptures out of tissue paper. For her, this work stemmed from wanting to take on the challenge of exploring identity utilizing extremely light materials. Comprised of paper and steel wire sculptures, her next series, “Breath” examines the contrast between nature’s strength and vulnerability.
In 2018, de Cock participated in the “Fall into Art” show held in Westhampton, NY. In 2019, she exhibited works on silk at Belcham New York, The Belgian Chamber of Commerce.
She is currently creating oceanic-themed installations that build on her career-long exploration of man’s relationship with time and memory. Fragility remains a recurrent theme in her work.
De Cock is a member of Artformsus. She lives and works in Harlem, NY.