According to Jan Vercruysse, art no longer has a place in this world. As a result, he seeks, through his work, a new place for art and new conditions in which to work. His earliest photographic works recreated historical subjects, such as self-portraits, still lifes and mythological scenes. Gradually, he evolved a sculptural vocabulary of narrow rooms, empty frames and bases without objects. The sacred spaces created by Vercruysse in these works are known as Chambres or Tombeaux and represent the artist’s last-ditched attempts to create art that refers only to itself. His later works, such as plaster pianos, blue Murano glass musical instruments and bronze and ceramic turtles, achieve a perfect equilibrium between conceptual conviction and aesthetic concerns, and also reflect a real pleasure of making.