Ben Storms

Behind the scenes ⁠ Preview set⁠ ⁠ Cast Series⁠ Wall Piece, Cast Bronze⁠ ⁠ This wall sculpture builds on a recurring theme at the heart of Storms’⁠ practice. By transmuting matter, Storms transforms a piece of natural⁠ stone into bronze while retaining its massiveness, and every subtle⁠ detail, crack and irregularity remains visible. Drawing on the historical⁠ craft of the lost wax technique, the stone forms the basis of a silicone⁠ mould. This aligns the work with the traditions of sculpture.⁠ ⁠ @objectswithnarratives @dennisanddid ⁠ @alexanderpopelier ⁠ @jnslscrwt ⁠

Cast Series⁠ Wall Piece, Cast Bronze⁠ ⁠ This wall sculpture builds on a recurring theme at the heart of Storms’⁠ practice. By transmuting matter, Storms transforms a piece of natural⁠ stone into bronze while retaining its massiveness, and every subtle⁠ detail, crack and irregularity remains visible. Drawing on the historical⁠ craft of the lost wax technique, the stone forms the basis of a silicone⁠ mould. This aligns the work with the traditions of sculpture.⁠ ⁠ wall sculpture⁠ 2026⁠ size (cm) 82 x 35 x 15⁠ size (inch) 32 x 13.8 x 5.9⁠ white bronze⁠ limited edition of 8 + 1 P.T.⁠ numbered and signed⁠ ⁠ ⁠@objectswithnarratives @kunstgieterij.dcg @dennisanddid ⁠ @alexanderpopelier ⁠ @jnslscrwt

BEN STORMS
 Ben Storms is a Belgian designer and craftsman whose thinking is deeply rooted in materials. His work explores the intrinsic qualities of stone and metal, pushing them beyond their expected limits.
 Born into a family of stonemasons, Storms developed an early understanding of the weight, resistance and character of natural materials. He combines traditional craftsmanship with advanced technological processes, allowing stone to be cut, bent and transformed in ways that challenge its apparent rigidity.
 Through this dialogue between heritage and innovation, he creates sculptural furniture and objects that reveal new possibilities within familiar materials.
 Each piece becomes a study in tension between mass and movement, precision and intuition.
 Storms’ work ultimately invites a renewed perception of matter, where stone is no longer static but capable of surprising fluidity and expression.
 ZAVENTEM ATELIERS inhabits VILLA EMPAIN
Prototype of Reality
 11 – 19 March 2026
Boghossian Foundation
Av. Franklin Roosevelt 67
1050 Brussels
 PRESS PREVIEW
10.03.2026
11.00 – 16.00
 To register for the press preview:
[email protected]
 Tickets via Villa Empain website.

Pattern Cut⁠ Room Divider, Liquid Silver and Giallo Siena marble ⁠ Although these room dividers function equally well individually, together they form a unique whole that enhances and elevates the expressiveness of the separate components. As a limited edition comprising six individual sections, the ensemble is less a screen and more a wall, with the ability to transform a space architecturally and sculpturally. Regarded as such, the mosaic on one side of the screens⁠ in particular appeals to the imagination. Created using the renowned open-book technique, the fragmented marble veneer appears as a mirror image, with the veins and colours doubling as if on the wings of a butterfly. Yet the other side is equally striking. Expertly finished with molten silver, the surface appears fluid, as if time has solidified yet is still slipping away.⁠ ⁠ Each screen was created using Storms’ recently developed Pattern⁠ Cut technique. Similar to the Crushed technique, metal is deformed, bent and dented to create the shape. However, in this case, there is no longer an external, uncontrollable force, which made the results of the Crushed technique difficult to predict. The process is more precise and premeditated here, with the curves and folds created according to a carefully considered plan. This is most evident in the rounded edges and in the ability to combine different screens to form a continuous surface.⁠ ⁠ @dennisanddid ⁠ @alexanderpopelier ⁠ @tijsvervecken ⁠ @jnslscrwt ⁠ @objectswithnarratives

Crushed⁠ Console, ⁠ Honey Onyx⁠ ⁠ Console⁠ 2026⁠ size (cm) 46 x 132 x 92 ⁠ size (inch) 18 x 52 x 36.2⁠ Honey Onyx (MX),⁠ mirror polished stainless steel⁠ ⁠ This console’s design explores contrast. Its cool, stainless steel base with its meticulous finish, reflects and absorbs its surroundings, blending in as a consequence. It supports a stone, a substantial fragment of Honey Onyx which – not least because of its delicate veining and warm colour nuances – stands out emphatically, manifesting itself as a presence within a space. However, this contrast does not create conflict. Instead, this distinction in materiality reinforces a harmonious union. The two components complement each other’s characteristics, with the reflective base even eager to adopt the subtle tones revealed by the honey onyx stone.⁠ As a continuation of the ongoing Crushed series, this console both progresses and transitions to a variation. Yet, the principle remains prominent: an external force continues to create an unpredictable form.⁠ ⁠ @objectswithnarratives @dennisanddid ⁠ @alexanderpopelier ⁠ @tijsvervecken ⁠ @jnslscrwt ⁠ ⁠ ⁠ ⁠ ⁠

In Hale Wall Piece, ⁠ Faux Marble⁠ ⁠ The remarkable optical confusion that defines this series is a new variation on the In Hale series. Inspired by the gorgeous stones that Storms consequently honours in his work, he joined forces with @pierreyvesmorel , combining their skills. As a master decorator, Morel showcases his craftsmanship by matching the warm honey onyx, giallo Siena and the unparalleled Breccia Medicea with paint alone, down to the finest details, as Faux Jumeaux. This is not deception, however, but a sincere celebration of materiality and craftsmanship.⁠ The In Hale series still consists of two metal plates that are welded together and then inflated under high pressure, resulting in them being partially separated. Whereas previously that form was sometimes translated into a solid stone replica, referred to as Ex Hale, here that transmutation of materiality is merely suggested, with the nature of the metal primarily adapted visually and applied more directly to the initial surfaces.⁠ ⁠ Ex Hale Wall Piece, ⁠ Giallo Siena⁠ ⁠ At the heart of this series of wall pieces lies a defining technique of Storms’ artistic approach: two metal plates are welded together and then inflated under high pressure. The resulting shape, which resembles a cushion, is then treated as a template, with a stone replica being milled using a 3D scan of the original form. The design is thus both solid and substantial, yet also seemingly lightweight and hollow. Its apparently soft texture calls into question the essence of the stone yet enhances its hues and qualities.⁠ ⁠ @pierreyvesmorel @dennisanddid ⁠ @alexanderpopelier ⁠ @tijsvervecken ⁠ @jnslscrwt ⁠ @objectswithnarratives

Through the lens of @tijsvervecken . Thank you for capturing the dialogue between space and material. At @brafaartfair , in collaboration with @benstorms and @objectswithnarratives . Scenography & art direction by Nel Verbeke: @dennisanddid

Last day of Faux Jumeaux, Solo show of Ben Storms at Brafa Art Fair Brussels, 2026 ⁠ BRAFA Art Fair – Brussels Expo (Hall 3 & 4) Place de Belgique 1, 1020 Brussels, Belgium⁠ ⁠ represented by @objectswithnarratives ⁠ -⁠ At a time when it is becoming increasingly difficult to distinguish truth from lies, or to trust your own eyes, imitation could easily be mistaken for deception. Yet, if Ben Storms’ presentation for the Brafa Art Fair turns out to be partly an ode to the notion of imitation, this should rather be seen as a historical reference — a sincere acknowledgement of a rich tradition.⁠ Consider it a restorative act. A reminder of an era when the practice of imitation was a mark of exceptional craftsmanship, capturing the visual essence of original matter down to the finest detail. As such, and true to the motives behind his practice, this exhibition is once again a celebration. Of beauty and of craftsmanship. Of materiality, and the uniqueness of our creative capacity.⁠ ⁠ Bathed in a soft, warm, honey-hued glow, Storms’ exhibition explores the concept of faux jumeaux.⁠ Of apparent reflections, quasi-identical, that invite you to look twice and sharpen your perception.⁠ ⁠ Having worked with moulds and casts for many years — and with the transmutation of matter as a recurring theme throughout his practice — this territory is familiar to Storms. Here, however, he explores its peripheries. To this end, he collaborated closely with @pierreyvesmorel , a master decorator who has become particularly adept at the subtle art of faux marble. It is an arduous craft, requiring unparalleled focus and dedication, verging on the ritualistic. This act of imitation is a testament to the original natural stone⁠ -⁠ Beautiful woven carpet, Dorset Mustard Brown, by @bomat_rug_creation ⁠ ⁠ Thank you to:⁠ images by Tijs Vervecken @tijsvervecken ⁠ copy by Jonas Lescrauwaet @jnslscrwt ⁠ scenography & art direction by Nel Verbeke @dennisanddid ⁠

Pattern Cut Console, ⁠ Breccia Medicea Siena, ⁠ Faux Marble⁠ ⁠ ⁠This console is Storms’ ultimate tribute to a remarkable type of natural stone. The Breccia Medicea Siena from Tuscany is renowned for its rare beauty, with distinctive patterns and warm hues. Storms opted⁠ for a sleek, beam-shaped stone, and the meticulous surface treatment highlights its exceptional qualities. The stone rests on a plinth made using the recently developed Pattern Cut technique, which, although visually similar to the Crushed technique, enables greater control over the expression of curves.⁠ While the pedestal may look like stone, it is in truth crafted from metal. Like a Faux Jumeau, it was then painted meticulously and skilfully. The design was marbled in collaboration with Pierre-Yves Morel, who has mastered this technique like no other. The beautiful stone that is so aptly imitated here is one of the most difficult to copy. The design therefore demonstrates both unique craftsmanship and a tribute to nature in every respect.⁠ ⁠ @dennisanddid ⁠ - Nel Verbeke @alexanderpopelier ⁠ @tijsvervecken ⁠ @pierreyvesmorel @objectswithnarratives

Last day of Faux Jumeaux, Solo show of Ben Storms at Brafa Art Fair Brussels, 2026 BRAFA Art Fair – Brussels Expo (Hall 3 & 4) Place de Belgique 1, 1020 Brussels, Belgium - At a time when it is becoming increasingly difficult to distinguish truth from lies, or to trust your own eyes, imitation could easily be mistaken for deception. Yet, if Ben Storms’ presentation for the Brafa Art Fair turns out to be partly an ode to the notion of imitation, this should rather be seen as a historical reference — a sincere acknowledgement of a rich tradition. Consider it a restorative act. A reminder of an era when the practice of imitation was a mark of exceptional craftsmanship, capturing the visual essence of original matter down to the finest detail. As such, and true to the motives behind his practice, this exhibition is once again a celebration. Of beauty and of craftsmanship. Of materiality, and the uniqueness of our creative capacity. Bathed in a soft, warm, honey-hued glow, Storms’ exhibition explores the concept of faux jumeaux. Of apparent reflections, quasi-identical, that invite you to look twice and sharpen your perception. Having worked with moulds and casts for many years — and with the transmutation of matter as a recurring theme throughout his practice — this territory is familiar to Storms. Here, however, he explores its peripheries. To this end, he collaborated closely with Pierre-Yves Morel, a master decorator who has become particularly adept at the subtle art of faux marble. It is an arduous craft, requiring unparalleled focus and dedication, verging on the ritualistic. This act of imitation is a testament to the original natural stone - For more info, please contact us on [email protected] - OBJECTS WITH NARRATIVES PLACE DU GRAND SABLON 40, 1000 BRUSSELS THURSDAY -SUNDAY 11H-19H

Faux Jumeaux, Solo show of Ben Storms at Brafa Art Fair Brussels, 2026 23th of January - 1st of February 2026 BRAFA Art Fair – Brussels Expo (Hall 3 & 4) Place de Belgique 1, 1020 Brussels, Belgium - At a time when it is becoming increasingly difficult to distinguish truth from lies, or to trust your own eyes, imitation could easily be mistaken for deception. Yet, if Ben Storms’ presentation for the Brafa Art Fair turns out to be partly an ode to the notion of imitation, this should rather be seen as a historical reference — a sincere acknowledgement of a rich tradition. Consider it a restorative act. A reminder of an era when the practice of imitation was a mark of exceptional craftsmanship, capturing the visual essence of original matter down to the finest detail. As such, and true to the motives behind his practice, this exhibition is once again a celebration. Of beauty and of craftsmanship. Of materiality, and the uniqueness of our creative capacity. Bathed in a soft, warm, honey-hued glow, Storms’ exhibition explores the concept of faux jumeaux. Of apparent reflections, quasi-identical, that invite you to look twice and sharpen your perception. Having worked with moulds and casts for many years — and with the transmutation of matter as a recurring theme throughout his practice — this territory is familiar to Storms. Here, however, he explores its peripheries. To this end, he collaborated closely with Pierre-Yves Morel, a master decorator who has become particularly adept at the subtle art of faux marble. It is an arduous craft, requiring unparalleled focus and dedication, verging on the ritualistic. This act of imitation is a testament to the original natural stone - For more info, please contact us on [email protected] - OBJECTS WITH NARRATIVES PLACE DU GRAND SABLON 40, 1000 BRUSSELS THURSDAY -SUNDAY 11H-19H

Faux Jumeaux, Solo show of Ben Storms at Brafa Art Fair Brussels, 2026 23th of January - 1st of February 2026 BRAFA Art Fair – Brussels Expo (Hall 3 & 4) Place de Belgique 1, 1020 Brussels, Belgium - At a time when it is becoming increasingly difficult to distinguish truth from lies, or to trust your own eyes, imitation could easily be mistaken for deception. Yet, if Ben Storms’ presentation for the Brafa Art Fair turns out to be partly an ode to the notion of imitation, this should rather be seen as a historical reference — a sincere acknowledgement of a rich tradition. Consider it a restorative act. A reminder of an era when the practice of imitation was a mark of exceptional craftsmanship, capturing the visual essence of original matter down to the finest detail. As such, and true to the motives behind his practice, this exhibition is once again a celebration. Of beauty and of craftsmanship. Of materiality, and the uniqueness of our creative capacity. Bathed in a soft, warm, honey-hued glow, Storms’ exhibition explores the concept of faux jumeaux. Of apparent reflections, quasi-identical, that invite you to look twice and sharpen your perception. Having worked with moulds and casts for many years — and with the transmutation of matter as a recurring theme throughout his practice — this territory is familiar to Storms. Here, however, he explores its peripheries. To this end, he collaborated closely with Pierre-Yves Morel, a master decorator who has become particularly adept at the subtle art of faux marble. It is an arduous craft, requiring unparalleled focus and dedication, verging on the ritualistic. This act of imitation is a testament to the original natural stone - For more info, please contact us on [email protected] - OBJECTS WITH NARRATIVES PLACE DU GRAND SABLON 40, 1000 BRUSSELS THURSDAY -SUNDAY 11H-19H