“Hold the time, share the time, calmly cheer up!”

In a fast-paced, oftentimes harsh world, places of tranquility and reflection can be hard to come by. Delvaux, the world’s longest-running leather goods house, partnered with the immensely talented and thoughtful artist Hans Op de Beeck to produce an expansive installation on display at Delvaux Arsenal in Brussels, Belgium.

“This project presents a place and an encounter that evoke sensitivity and escape, exploring the worlds of artist Hans Op de Beeck and maison Delvaux, where atmosphere, soul, objects, work, colors, and sound converge in unexpected harmony,” said Jean-Marc Loubier, CEO of Delvaux.

Delvaux, founded in 1829, has only further perfected its craft throughout its nearly 200 years in the leather goods business. With its Belgian arsenal and two ateliers in France, the house has been able to accompany women with bags that last and can endure their ever-changing lives. With over 3,000 designs and boutiques all over the world, Delvaux aims to connect other countries with the spirit of Belgium. In this installation, Hans and Delvaux worked together to blend their different identities and artistic approaches.

Hans Op de Beeck, a 57-year-old visual artist, is based in Belgium and specializes in installations, sculptures, films, drawings, paintings, photographs, and texts. His goal with his work is to provoke emotion around the human experience in our complex society. “In our short human lives, it is noble to do what we do with love, concentration, and dedication,” Op de Beeck said regarding his work. “Whether it is telling a bedtime story to a child, preparing a meal for your loved one, or arranging flowers. Arts and crafts are essentially about deep dedication.”

Hans Op de Beeck helped create an exhibit of craftsmanship and contemplation with Delvaux. Within the installation, a garden sets the scene. Surrounded by bamboo and taking in the high-quality work of Delvaux’s artisans through the gorgeous bags on display, viewers are invited to explore and reflect beside the lily pond. The monochromatic palette is curious and meant to steer the viewer away from “distractions.”

“Brian” and “Zhai-Liza” bookend the pond, one a bald meditative boy and another a melancholic angelic girl. Meant to represent the duality of both of those states, this part of the installation encourages attendees to decide which side they resonate with the most. At the middle of the pond, a mechanical planetarium sits with words engraved about “letting go,” “surrendering to the unknown” and “our humble place in the universe.” 

From both Op de Beeck and Delvaux, the bags and installation show consideration for their counterpart in the project. The pastels and perfection of the leather handbags are showcased within the breathtaking garden rather than hushed by it.

But the piece meant for the most recognition is Le Brillant, a “sculptural soul” featuring two birds nestled together atop one of the timeless bags. If the installation could be summarized in a single fragment, this may just be it.