Blindfold, 2025 — gouache on paper, 29 × 42 cm
Pondering, stand by, 2025 — mixed media on wood panel, 61 × 32 cm
On the cupboard, 2025 — mixed media on canvas, 61 × 32 cm
Sketch, 2025 — mixed media on paper, 20 × 25 cm
Rest, 2025 — gouache on paper, 29 × 42 cm
Where to begin, 2025 — acrylic on wood panel, 20 × 24 cm
Sketch, 2024 — water and pigment on paper, 17 × 22 cm
It's all white, 2026— mixed media on wood panel, 30 × 44 cm
Fade in to you, 2026 — mixed media on wood panel, 19 × 33 cm
NoordNoordOost: Bericht uit de Permafrost, 2024 — film, 43 min., Dutch, no subtitles
Directed and edited by Lizzy Pauwels
Text and voice: Donald Niedekker
Camera: Wim van Edom
Sound: Lizzy Pauwels & Tim Wijnant
Request screener
Sketch, 2024 — watercolor on cardboard, 14 × 20 cm
Sketch, 2024 — watercolor on paper, 15 × 21 cm
Study, 2024 — watercolor on cardboard, 14 × 20 cm
The work of wind, 2025 — mixed media on paper, 40 × 32 cm
'...Working with stones, looking for the story of the stone, a boulder belongs to the boulders like a person belongs to the people. They experience the same things, Lizzy thinks. Pebbles sit still, do not contradict, let your imagination take flight through their shape and color. They conform to any situation by simply and completely remaining themselves. In any case, they carry old age with them and thus convey steadfastness. So they very easily become a metaphor...'
('Perseverance in frailty', P. Boël, 2024)
Untitled, 2016 — acrylic on wood panel, 40 × 40 cm
Sketch, 2024 — mixed media on paper, 20 × 25 cm
Torbern Bergman, Elective Attractions, 2024 — mixed media on cardboard, 17 × 22 cm
Sketch, 2024 — mixed media on paper, 20 × 25 cm
Sketch, 2023 — mixed media on paper, 20 × 25 cm
Sketch, 2024 — mixed media on paper, 20 × 25 cm
Sketch, 2023 — mixed media on paper, 20 × 25 cm
Sketch, 2023 — mixed media on paper, 20 × 25 cm
Archie and Anna, 2023 — pair of gloves and stones collected from the grounds of UZ Ghent
Collection, 2023 — acrylic on canvas, 60 × 40 cm
'... Het patroon op het voorwerp lijkt op inkt die is uitgeveegd toen die nog nat was. De steen is zandkleurig en zwart geaderd. Het patroon heeft iets weg van natte pagina's van een achtergelaten krant. Hoe moet ik dat nou beschrijven? Hebben jullie hem gezien? Het lijkt er op dat op het moment dat de steen werd geschapen op is geschreven, en dat toen hij daarna langzaam stolde en uithardde de woorden gaandeweg zijn uitgewist, maar dat ze als patroon op de gladde steen zijn achtergebleven, als een schaduw van de taal..'
('Het personeel', O. Ravn, 2021)
Sketch, 2023 — mixed media on paper, 20 × 25 cm
Sketch, 2023 — mixed media on paper, 20 × 25 cm
Sketch, 2023 — mixed media on paper, 20 × 25 cm
'...The hermetic nature of the stone is particularly fascinating. Each stone is in itself nothing other than itself. That provides something to hold on to that you can cherish and propagate. That's why you would think that the solidity of the stone would be recognizable in paintings and images that Lizzy makes of it. But nothing is less true.Her work radiates delicacy and vulnerability, the pebbles are multi-colored and have porous skin, just like her other works. Life and vulnerability shine through. She seems to want to contrast the unwavering character of what a rock stands for with security and empathy.'
('Perseverance in frailty', P. Boël, 2024)
Sketch, 2023 — acrylic and gouache on paper, 20 × 25 cm
Sketch, 2023 — acrylic and gouache on paper, 20 × 25 cm
Sketch, 2023 — acrylic and gouache on paper, 20 × 25 cm
Eric, 2023 — acrylic on paperboard, 24 × 29 cm
Croton, 2024 — mixed media on canvas, 60 × 80 cm
'...Time and again Lizzy introduces randomness and coincidence into her oeuvre. That is, without a doubt, the leitmotiv in the choices she makes, as an artist, and especially as a human being. She likes experimenting and the consequences that come with it, even if they are failures, because in her world and thinking, they are a crucial part of a learning process. (her commitment to art education is not just there, it fills an existential need).
Driven by a special rational curiosity in almost everything she does, she questions the world and silently writes down all the answers in a huge imaginary notebook to which only she has access. Without revealing too much (perhaps she is the stone). She likes to leave that to others. Her affection therefore rests with people who dare to name things, as if she wants to embrace what touches her, even what hurts her. In the way she deals with people and things, her attention and love permeates gently, patiently and even vulnerably. The stone comes in countless shapes and colors.'
('Perseverance in frailty', P. Boël, 2024)
Mozes, 2015 — acrylic on wood panel, 25 × 25 cm
Birch, 2017 — acrylic on canvas, 40 × 29 cm
Untitled, 2021 — acrylic on wood panel, 30 × 40 cm
Rosine, 2020 — acrylic on wood panel, 30 × 23 cm
Ode aan Marie en Werner, 2015 — acrylic on wood panel, 30 × 40 cm
Envoi
Rock, bear these impressions kindly.
They are pictographs of an earlier day than now,
Telling of a time when a new world was forming
Out of the same old elements.
( Robinson Jeffers, 1924, from 'Tamar and Other Poems')
Beryl, 2018 — clay, approx. 15 × 8 × 10 cm
Little Red Riding Hood, 2017 — coloured clay
and rubber bands, approx. 8 × 6 × 5 cm
Tripod, 2016 — acrylic on cardboard, 40 × 30 cm
'...So it seems less important to her to name the people and things themselves, but rather how they want and can describe themselves. That is why her works present themselves as indeterminate shadow images of a reality that takes place outside, as residual images or fragments of stories collected together to form a congruence of meanings. In this way she conducts an archeology of Being and inherent to the nature of archeology her description remains imperfect. Her quest epitomizes embracing deficiency.'
('Perseverance in frailty', P. Boël, 2024)
Untitled, 2016 — acrylic on cardboard, 23 × 12 cm
Jagers in de sneeuw, 2015 — acrylic on wood panel, 30 × 40 cm
Golden Door, 2015 — acrylic and ceramic on wood panel, 30 × 40 cm
Sketch, 2023 — mixed media on paper, 20 × 25 cm
Untitled, 2020 — ink and acrylic on paper, 20 × 25 cm
Circumvesuviana, 2023 — acrylic and watercolor on paper, 20 × 25 cm
Ostende, 2016 — acrylic on cardboard, 21 × 30 cm
"Who ultimately recognizes the kinship between the pebbles on the beach in Dungeness, that lie nameless next to each other, untouchable ad condensed souls in a landscape with an ever-changing view
an her own studio, the place where she silently gathers the world, where Mildred receives her artists with great hospitality, and Alice renames the theater fragments and pieces and Lizzy bounces her pebbles tom make them disappear into the sea, in the light on the horizon."
('Perseverance in frailty', P. Boël, 2024)
Private Exhibition 1, 2012 — Acrylic on wood panel, 40 × 29 cm
Private Exhibition 2, 2012 — Acrylic on wood panel, 40 × 29 cm
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