At Art Brussels, DMW Gallery presents a solo project by Kaspar Dejong. The booth unfolds through a process of urban mining, where discarded and collected materials are reworked into new constellations, allowing familiar surfaces to shift and everyday encounters to gain renewed presence.

For Dejong, the city operates as a layered grid – a spatial and material framework that carries traces of use and time. He reads this surface as a collection of marks, where accidental encounters form a quiet archive: fragments of wood, weathered textures or overlooked details encountered during daily walks. Through abstraction, these elements invite association rather than fixed meaning. Slowing down becomes central, as perception opens toward what usually remains unseen.

A blue pallet, found in the street, became a key starting point. Already inscribed by exposure and use, it entered the studio as an objet trouvé. Through deconstruction, painting and reassembly, its previous life is not erased but extended. Fragments of the pallet reappear across the works, sometimes preserved in resin, where surface and memory persist in altered form. The act of selection becomes as significant as intervention, positioning the work between recontextualisation and continuity.

This approach recalls the legacy of Dada and the readymades of Marcel Duchamp, where meaning shifts through context. Yet here, the found material carries a tangible accumulation of time, functioning as an active surface rather than a neutral object.

Within the booth, this destabilised way of seeing takes spatial form. Larger works emphasise gesture and process as direct traces of experience, while smaller works invite closer, more intimate viewing. Forms hover between abstraction and figuration, resisting closure. The installation encourages a slowed, attentive gaze, where looking becomes a form of participation. What emerges is not a fixed narrative, but a field of possibilities in which material, memory and perception converge.