In January 2015 G262 Sofie Van de Velde exhibits three artists, who created their work from a geometric abstract point of view. Svenja Deininger (1974) Perfect worlds are folded up inside the taut geometries of Svenja Deininger’s paintings. Lines are not edges but pleats, which gather concealed depths, meaning that her mostly small-format canvases are suggestive of something much bigger. Charlotte Posenenske (1930-1985) Posenenske worked in a variety of mediums, her practice becoming more abstract through the course of the 1960s. While other artists of the period worked in multiples, where a finite edition of a work could be produced, Posenenske worked in series, meaning that there was no limit to the editions. Posenenske stopped working as an artist in 1968, no longer believing that art could influence social interaction or draw attention to social inequalities. She retrained as a sociologist and became a specialist in employment and industrial working practices until her death in 1985. During this period of self-imposed exile Posenenske refused to visit any exhibitions, and did not show her work. In G262 we show some early works on paper. Ilse D’Hollander (1968-1997) Ilse d’Hollander was a true painter’s painter and it was her deep respect for the relationship between paint and the canvas that made her art so intense and pure. The subtle tones and sparse compositions combined with the small scale of the works are testimony to an artist who is very aware of what she’s doing and is carefully controlling and suppressing the emotions and thoughts that lie deep within. Out of the torment of her mind, she created subliminally beautiful oases of calm. The last two years of her life were particularly productive and it was almost as though she knew that her time was running out. Yet one gets no sense of this urgency in the lyrical, sometimes sparse and elegiac paintings she created. They are extraordinary studies in restraint.