lives and works in Turnhout, Belgium and Mont Devant Sassey, France

Initially abstract oeuvre, but from the beginning of the 90's a spectacular evolution with a literal destruction of all his older work to make room for figuration. With this clear gesture, the artist showed that he no longer doubted how he wanted to express himself and that the abstraction was finally closed.

Because of this style break, more clarity arose in the story that Roes wants, namely to tell in connection with alienation and absurdism in themes such as power and power relations.

Painting is the medium where Roes technically feels most at home but in recent years he regularly makes trips to other forms of expression. With installations in steel or 3D prints and wooden sculptures in smaller sizes, his "spielerei" also appears to manifest itself in spatial terms 

Emptiness is often unnoticed the subject of this artist. Almost all of Roes's works are blurred, fuzzy and brushed out. Wiping away his subject or part of it is his way of working. Sometimes a cross is made about the work. Making a cross also means letting it be forgotten, erased. In this way we come to the gaze of Roes, the key point in his work. In the works where cans are swept away, turned away, avoided, covered and denied, his core! The unrest and unease that many of his manipulated images evoke is undoubtedly the aim of Roes. Especially in the omissions and blurs, emptiness and lack are suggested, whereby the spectator can wonder whether there is something to be filled in or not.

Roes himself says that different interpretations of his works are possible and that the viewer has to decide for himself whether he plays the game and / or whether he dares to go deeper into the scene. (Roes himself is an avid chess player).

What immediately strikes you about watching the paintings of Bob Roes is the lack of faces. What happens when we remove the face? What look should be wiped, destroyed and broken down?

The ability to communicate. No contact can be made with the outside world. You can not be accepted (leads to loneliness), but also not rejected. Without a face, the figures are doomed to remain how they are. Is this perhaps a way to maintain control over his figures. Ensor put his figures on masks. These figures can neither be accepted nor rejected, but they can hide behind a mask. They measure themselves a different identity. The figures of Roes can not. They are doomed to undergo their lonely destiny.


1996  Paterspand Turnhout with Dan Faur√©

1997  Borgerhout group expo curator Mark Schepers Ruimte Morguen

1998  Creative Factory Turnhout with Fikip Gustin and Ralf


1999 Groupexpo Royal Academie Antwerp

2005  Galerie de Witte  Antwerp

2006 Atelier 20+03 Turnhout Strapatsen with Paul Snoeckx

2007  Revalidationcenter Wemmel expo Wemmel, Brussels

2008  Feint Atelier 20+03

2010 Onland groupexpo Hofke Chantraine Oud-Turnhout

2012  Land art project with Kris de Hoon Romboids

2012  Merci Marcel Atelier 20+03 curator Ursula de Graeve

2013  cc Heist od Berg groupexpo

2014  cc Getouw Mol Forward to the backyard

2015 cc Lakenhal Herentals The moment is yours

2016  chessset chessmuseum  Rotterdam

2017 gc Heilaar Beerse

2017 Post x Berchem Antwerp Room 32135

2018  cc Evergem 

2018   galerie Aporia  Brussels 

2019  cc Asse Brussels Leegte

2019 cc De Warande Turnhout

2020 Romboids Hofke van Chantraine 

2022 Taxandriamuseum Turnhout groupexpo

2022 cc Zwanenberg groupexpo