In 2020 a temporary urban sculpture project called “Publiek Figuur” appeared in Antwerp’s Stadspark. In my and art historians’ opinion, very successful. During this time 4 artists of different genres have put their works on public display. At the end of the mono-exhibition in the park, the sculptures are for sale.

The curator of the project Middelheim Sculpture Park has commissioned for the 5th time a “figure” by Brussels-based artist and ceramicist Aline Bouvy (1974). I am familiar with her remarkable work from exhibitions at the Brussels gallery “Baronian”. A multidisciplinary artist, she works in different techniques.

As an intellectual artist, Aline has scrutinised the historical collection “Art in the City” and delved into the subject of how the human body is represented in urban sculpture. Typically proudly or seductively, with pathos or humour. But flaunting the body can cause both embarrassment and shame. The artist has created the work “Servant, clown or enemy”, which explores the phenomenon of the naked female body in the urban landscape. In this case, a park landscape. Aline took a scan of her own body and cast it in bronze. Although Bouvy follows the old tradition of dressing statues, here she emphasises the nakedness of the figure rather than hiding it. The statue was dressed by designer Adam Halleux.

With the title “Servant, Clown or Enemy” Aline refers to the different roles that artists assume in their relationship with the public. The figure on the pedestal either refuses to fulfil these roles – or fulfils all three. This creates a playful interpretation of public performance, free from dominant norms or ideologies of appropriate “feminine” behaviour. Isn’t it true – the grotesque pose is in stark contrast to the cutesy poses of traditional female statues. The artist’s alter ego expresses doubt with her facial expressions about whether all is well in this best of moonlit worlds. What do you see in her pose and face?