INTERVIEW FOSBURY & SONS WITH REBEKKA VANDERHAEGHEN

JUNE 2026

You have a background in contemporary dance, photography and fashion, quite an unusual path for a visual artist.
How did all of these worlds eventually lead you to sculpture and light objects?

My path hasn’t been linear, but it has always been guided by

the same impulse:to explore how we feel,

and how that feeling can take form.



I initially trained in contemporary dance. Movement was my

first language a way to understand the body, emotion and

presence.When injuries forced me to stop, I had to find another

way to express that same inner world.

Photography became that medium.Through the lens, I continued

working with bodies,capturing them almost like painterly figures

then gradually transforming them into more fluid,

abstract compositions.They where never about

documentation,but about creating and feeling.



In 2012, my mother passed away unexpectedly.

She was a multidisciplinary artist and fashion designer,and her

work carried a very strong, expressive universe.

Together with my sister, I continued her life’s work for several

years.That period brought me closer to materials,to making,

and to the dialogue between different ar forms, fashion,

objects and interiors.



Eventually, I felt the need to return to my own voice.

Around that time, I went through an illness

that shifted my perspective deeply.

It brought me back to the body in a different way,not as

performance, but as a space of awareness.

Next to healthy nutrition, movement and good sleep,

I became obsessively interested in how our environment

, our thoughts, and the energy around us can influence

how we feel.This is where my current work originates.



Today, I create objects that are not only meant to be seen,

but to be felt. Through light, colour and material,

I try to shape an atmosphere, something that can subtly shift

perception, calm, activate or reconnect.



It began with small, intimate pieces of jewellery objects to

carry meaning, memory and intention.

And it has evolved into larger works, such as Amon-Ra.



With Amon-Ra, I bring together sculpture and light as a living

presence within a space. Something that changes

throughout the day, that interacts quietly with the body

and the mind.



In many ways,it feels like a continuation of everything that

came before, just expressed in a new form.



With Studio Rebekka Vanderhaeghen i want to bring all of this

together; art, design and wellbeing.

Amon-Ra took almost 1,5 years to come to life. What was the moment you
knew the object had finally become what you envisioned?

The essence of Amon-Ra was clear from the beginning,

the desire to capture the energy of colour

and translate it into a physical object that can transform

how we feel. The shape mimics the sun

or the moon but in a more sculptural, organic

and imperfect way .



The first experiments took place on my kitchen floor. I started

casting by hand, layer by layer,

learning how colour behaves within resin, how it blends

diffuses, or becomes more opaque.

It was a process of trial and error, but also of letting go of

control and working with the material

rather than against it.



Initially, I imagined the piece purely as an object standing

against the wall, almost like a seventies-inspired vibe..

But over time, I realised it needed more flexibility.

Not every space offers an empty wall, and I wanted the piece

to move with its environment.

That led to the development of a stand

allowing it to shift between spaces and contexts,

from a living room to a bedroom, or even outdoors

in the evening.



Afterwards I worked on a wall system that could support the

object in a minimal way, whil integrating light that can be

dimmed and adapted in temperature.

Given the weight of the piece, this required a careful balance

between strength and refinement, developed in collaboration

with different craftsmen and ateliers.



The moment it felt complete was when all these elements came

together when it worked not only as a form, but as an

experience. When it could exist as a sculptural presence during

the day, and then, in th evening, shift the atmosphere of a

space through light.

What does the name Amon-Ra (the Egyptian Sun God) mean to you personally? Why was that the right name for this piece?

The name Amon-Ra came quite intuitively, but it carries a

deeper layer of meaning for me.

Ancient Egypt has always fascinated me as a place where life,

architecture and ritual were deeply connected to the rhythms of

the sun, the moon and the cosmos.

There was a strong awareness of

how these forces influence both our physical and emotional

world, something I feel we have partly lost today.



With Amon-Ra, I wanted to reconnect to that idea. Not in a

literal or historical sense, but as a reminder of living with

intention, in alignment with the energy that surrounds us.



The circular form of the piece also plays an important role.

Circles have a universal language,

they create a sense of calm and wholeness, while symbolising

continuity, cycles, and infinity.

Beginning and end at the same time.



For me, Amon-Ra as the sun god and a symbol of

creation represents the act of consciously

shaping how we live, how we feel, and the environments

we create around us.

You describe color as a tool to influence the nervous system. How so? And how do you choose a color combination for a piece? Is it intuitively or something else entirely?

Colour is not just beautiful and decorative, it’s something we

physically and emotionally respond to.



Light enters through the eyes and is processed directly by the

brain, particularly in areas linked

to emotion, such as the limbic system. Different wavelengths, what we perceive as colours,


can either stimulate or calm the nervous system, depending on

how they are used.In a general sense, warmer and brighter

tones, like red, orange or yellows, tend to activate and

energise. Cooler or more muted tones, such as blue, green,

violet or deeper earth tones, can have

a more calming, grounding effect. But it’s never that simple.

The impact of colour always depends

on intensity, light, material, cultural interpretation and context.



For example, a bright, saturated red can feel intense and

stimulating, while a deeper, softer red

in a translucent material can become warm, sensual and

soothing. The same applies to all colours,

they shift depending on how they are shaped and experienced.


When I create a piece, I usually start with one dominant

colour. This becomes the anchor, the

tone that most strongly influences the atmosphere. From there,

I introduce a secondary colour,

sometimes complementary, sometimes more tonal, guided by

the kind of feeling I want to evoke.

In custom work, this becomes more of a dialogue. I listen to

how someone wants to feel in a

space, calm, energised, grounded, focused and translate that

into colour tones and combinations,

always in relation to the interior.

I also believe strongly in the role of art itself. Beyond colour,

the presence of an artwork can shift how we experience a

space, lifting mood, reducing stress, and creating

moments of pause or reflection.



So for me, colour is both intuitive and intentional.

It’s a tool, but also a language,

one that works quietly on how we feel and move.

You work with the idea that our environment and the energy we surround
ourselves with can shape our wellbeing, kind of similar vision as we have at Fosbury & Sons. How does this belief translate into your work?

I strongly believe that the spaces we inhabit have a direct

impact on how we feel, think and function.

Not only in an aesthetic sense, but on an emotional and even

physical level.



We are constantly in dialogue with our environment, through

light, colour, materials, proportions,

of which are rooted in nature. Even when we are not

consciously aware of it, these elements

influence our nervous system and our state of being.



This belief translates into my work by approaching each piece

not just as an object,but something that contributes

to an atmosphere.



With my light objects, for example, I work very deliberately

with colour and light intensity to create different emotional

responses, whether it’s a sense of calm, focus, grounding or

energy.

The materiality also plays a role: how light diffuses,

how soft or vibrant it feels,

how it interacts with the surrounding space.



At the same time, I’m interested in creating pieces that invite

a moment of pause to recharge In often fast-paced

environments, I think there is real value in objects that help

us slow down,reconnect, recharge or simply feel more at ease.

What energy, idea, take-away,... do you hope your piece brings to our members and co-working community?

To begin with, I’m very happy with how Amon-Ra is presented

within the building. It reflects

perfectly what the work stands for, thoughtfully designed

architecture, surrounded by nature,

with space for focus, connecting and pause.



For this location, I chose a composition of deep Mars red and

ocean blue.

These colours create a balance within the space they

complement the trees outside,

while also bringing a sense of grounding and quiet energy

to the interior.

In a dynamic environment like Fosbury & Sons,

I see the piece as something that can both recharge and

centre.



I also intentionally chose its placement on the seventh floor, in

a spot where people can sit and take a moment.

I like the idea that it could become part of a small,

personal ritual, a pause between meetings, a moment to reset,

to reconnect, even briefly.



More than anything, I hope the piece offers a subtle shift.

Not something overwhelming, but

something that is felt over time. A presence that invites people

to slow down,to become aware of their surroundings,

and perhaps also a bit more aware of themselves.