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The motifs employed by Birde Vanheerswynghels draw on artificialy arranged flora and fauna. The aesthetic is on the whole to be classified between botanical garden and expedition documentation. Such substitute landscapes in the form of glass greenhouse palaces were built in the 19th century and are still very present today in the former colonial power of Belgium, where Birde Vanheerswynghels lives. Compressed to a small area, the visitor to such a greenhouse experiences the peculiraties of exotic vegetation. Her oversized floral scenarios are characterised by a strong dynamism in the two-dimensional space. Starting from photograpghs, primarily her own Polaroid pictures, she draws oversized floral scenarios. Her works demonstrate the fine line between drawing and photography. If one decodes the individual layers of the works, she firstly draws a geometrical construct with minimal means on which she applies layer after of charcoal. Regardless of how small, each drawing becomes hyperreal in this way. The time consuming and meticulous attention to detail results in an extraordinary pictorial reality that is seemingly overgrown by exotic plants et every point in the complex structure. In a further group of works encompassing pigment tinged inkjet prints she takes up this kind of further development of the trompe l’oeil motif insofar as she defamiliarises the photographic space of the actual ilustration, thus deceiving the viewer. With the extensive application of passtels this manipulation becomes an illusion of movement. The result is the suggestion of a tentative illusionistic motion in her photographs as well as her drawings.