High
Numbers
Gallery
Rivoli #11

High Numbers Gallery Rivoli #11

Monica Piloni
Monica Piloni

NUMBER Three
Monica piloni
Non-functional anatomies
from sunday 16.03 —⁠ 03.05

Monica Piloni (b. 1978) is a Brazilian sculptor currently based in Brussels and active on the international stage. Her work evokes feelings of discomfort and unease. Since the beginning of her career, Piloni uses the female body, perfectly proportioned according to contemporary ideals, as a device to transmit her critique on today’s age. The idealized body becomes dismembered and torn, envisioning a ghostly whirlwind of contorted flesh and emotions.

The sheer feminism encompasses only the first paragraph of her narrative. Upon closer inspection, her sculptures open up to a more universal discourse of our daily lives—the ubiquitous unease induced by war, neoliberal capitalism, dehumanizing technology, and the shifting of power structures toward hyper-male conservatism. With her sculptures, Piloni says, “Look at the reality we are facing,” yet not without a certain irony. The mangled bodies were created by society itself. The snake bites its tail.

At High Numbers Gallery, Piloni exhibits ‘Odd’ and ‘IdEgoSuperego 20%’, both made of bronze. For Odd, Piloni used her own body during the model-casting and created a radial rather than asymmetrical being. The body points in all directions yet remains faceless; elevates in the air like atransient being yet sits on crutches. IdEgoSuperego20% takes its shape from the scorpion pose in yoga. By once again creating a triangular shape, Piloni alludes to a viscious circle where the ego struggles to feed its own growth and demise.

Although generating a raw and unfiltered view of the body and the world we live in, Piloni’s work remains poetic and sensual. The viewer becomes perturbed but not repulsed. Reminiscent of classical allegories, Piloni merges operatic drama with Eastern resignment. All figures maintain nonfunctional anatomies, reflecting how incapable we as humans have become to evolve—yet flexible at the same time, always adapting to the turmoils of life.



Idegosuperego| 2011

Monica Piloni

Idegosuperego| 2011

Bronze
Unique work 
127cm × 170cm × 74cm

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IdEgoSuperego 20%| 2020

Monica Piloni

IdEgoSuperego 20%| 2020

Bronze
5/20 (trios)
12cm × 15cm × 18cm (each)

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Odd| 2013

Monica Piloni

Odd| 2013

Bronze
Unique work
180cm × 96cm × 96cm

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Roy Kill
Roy Kill

NUMBER Three
Robert karl illiovÁri
Roy Kill
‘The Bearable Being
of Lightness’
from sunday 16.03 —⁠ 03.05

Robert Karl Illiovári, known under the pseudonym Roy Kill, is a Swiss-Bulgarian painter and draughtsman who moves through the world as both witness and fugitive, lingering where opulence meets oblivion. A restless observer of the exquisite debris of the beau monde, he drifts through Zurich, Monaco, Palm Springs, and Medellín’s most rarefied enclaves, never quite belonging. His chosen subjects speak not of what is permanent, but of what is destined to vanish.

Roy Kill’s oeuvre captures the essence of superficiality, wrenching it from its deepest roots and laying it bare on canvas and paper. Rejecting all pretence of profundity, he has no interest in depth, only in the echoes of surfaces—an aesthetician of the void, a chronicler of gloss. His work elevates ephemerality to the status of permanence, treating the fleeting not as something to mourn but as the only enduring truth worth preserving. Both decadent and incisive, it is an homage to the beautiful ugliness of our impermanent minds and world.

Though quite active in the 1970s, Roy Kill never sought the stage, avoiding both the critical spotlight and the gravitational pull of fame. His sudden disappearance from the scene only deepened the mystery—was he too close to discovery, too disinterested to seize it? Or was he hiding something, a man who walked the thin line between observer and voyeur, capturing the world with a gaze that is both detached and intimate?

What we do know is this: he never stopped drawing. His tools—ink, brushes, and a pocketful of pencils—always within reach, ready to commit a moment to paper before it dissolves into memory. He does not refine; he does not reconsider. The first stroke remains, uncorrected, unrepentant. His surfaces become immediate sites of execution, each piece spontaneous, unburdened by hesitation, untouched by regret.

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Volman _01

Roy Kill

Volman _01

Blue Ink on paper
Unique work
420cm x 594cm

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Cazenave_02

Roy Kill

Cazenave_02

Blue Ink on paper
Unique work
420cm x 594cm

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Davidson _03

Roy Kill

Davidson _03

Blue Ink on paper
Unique work
420cm x 594cm

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Spaulding _04

Roy Kill

Spaulding _04

Blue Ink on paper
Unique work
420cm x 594cm

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Rex _05

Roy Kill

Rex _05

Blue Ink on paper
Unique work
420cm x 594cm

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Ray _012

Roy Kill

Ray _012

Blue Ink on paper
Unique work
297cm x 420cm

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Charles _013

Roy Kill

Charles _013

Blue Ink on paper
Unique work
297cm x 420cm

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Kemper _014

Roy Kill

Kemper _014

Blue Ink on paper
Unique work
297cm x 420cm

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Nomland _015

Roy Kill

Nomland _015

Blue Ink on paper
Unique work
297cm x 420cm

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Walker _016

Roy Kill

Walker _016

Blue Ink on paper
Unique work
297cm x 420cm

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Craig _017

Roy Kill

Craig _017

Blue Ink on paper
Unique work
297cm x 420cm

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Donn _018

Roy Kill

Donn _018

Blue Ink on paper
Unique work
297cm x 420cm

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Knorr _019

Roy Kill

Knorr _019

Blue Ink on paper
Unique work
297cm x 420cm

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Buff _020

Roy Kill

Buff _020

Blue Ink on paper
Unique work
297cm x 420cm

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Hensman _021

Roy Kill

Hensman _021

Blue Ink on paper
Unique work
297cm x 420cm

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Untitled _022

Roy Kill

Untitled _022

Blue Ink on paper
Unique work
297cm x 420cm

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Sumner _023

Roy Kill

Sumner _023

Blue Ink on paper
Unique work
297cm x 420cm

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Koenig _024

Roy Kill

Koenig _024

Blue Ink on paper
Unique work
297cm x 420cm

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Untitled _037

Roy Kill

Untitled _037

Blue Ink on paper
Unique work
210cm x 297cm

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Eichler _038

Roy Kill

Eichler _038

Blue Ink on paper
Unique work
210cm x 297cm

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Triad_039

Roy Kill

Triad_039

Blue Ink on paper
Unique work
210cm x 297cm

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Stahl _040

Roy Kill

Stahl _040

Blue Ink on paper
Unique work
210cm x 297cm

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Theodore _041

Roy Kill

Theodore _041

Blue Ink on paper
Unique work
210cm x 297cm

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Bass _042

Roy Kill

Bass _042

Blue Ink on paper
Unique work
210cm x 297cm

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Fields _043

Roy Kill

Fields _043

Blue Ink on paper
Unique work
210cm x 297cm

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West _044

Roy Kill

West _044

Blue Ink on paper
Unique work
210cm x 297cm

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Salzman _045

Roy Kill

Salzman _045

Blue Ink on paper
Unique work
210cm x 297cm

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Soriano_025

Roy Kill

Soriano_025

Blue Ink on paper
Unique work
297cm x 420cm

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Wurster _06

Roy Kill

Wurster _06

Blue Ink on paper
Unique work
420cm x 594cm

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Bernardi _07

Roy Kill

Bernardi _07

Blue Ink on paper
Unique work
420cm x 594cm

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Rapson _08

Roy Kill

Rapson _08

Blue Ink on paper
Unique work
420cm x 594cm

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R. Smith _09

Roy Kill

R. Smith _09

Blue Ink on paper
Unique work
420cm x 594cm

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Richard _010

Roy Kill

Richard _010

Blue Ink on paper
Unique work
420cm x 594cm

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Abell _011

Roy Kill

Abell _011

Blue Ink on paper
Unique work
420cm x 594cm

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BUY
Brady _026

Roy Kill

Brady _026

Blue Ink on paper
Unique work
297 cm x 420cm

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Assoc _027

Roy Kill

Assoc _027

Blue Ink on paper
Unique work
297cm x 420cm

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Quincy_028

Roy Kill

Quincy_028

Blue Ink on paper
Unique work
297cm x 420cm

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Emmons _029

Roy Kill

Emmons _029

Blue Ink on paper
Unique work
297cm x 420cm

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BUY
Thorne _030

Roy Kill

Thorne _030

Blue Ink on paper
Unique work
210cm x 297cm

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BUY
Wong_031

Roy Kill

Wong_031

Blue Ink on paper
Unique work
210cm x 297cm

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Pacific _032

Roy Kill

Pacific _032

Blue Ink on paper
Unique work
210cm x 297cm

High Numbers Gallery

SOLD
Janss _033

Roy Kill

Janss _033

Blue Ink on paper
Unique work
210cm x 297cm

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Whitmore _034

Roy Kill

Whitmore _034

Blue Ink on paper
Unique work
210cm x 297cm

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Frank _035

Roy Kill

Frank _035

Blue Ink on paper
Unique work
210cm x 297cm

High Numbers Gallery

BUY
Untitled _036

Roy Kill

Untitled _036

Blue Ink on paper
Unique work
210cm x 297cm

High Numbers Gallery

BUY
Alpha _046

Roy Kill

Alpha _046

Blue Ink on paper
Unique work
297cm x 420cm

High Numbers Gallery

BUY
Lath_047

Roy Kill

Lath_047

Blue Ink on paper
Unique work
297cm x 420cm

High Numbers Gallery

BUY
Entenza _048

Roy Kill

Entenza _048

Acrylic paint on cardboard (framed)
Unique work
180 cm x 120cm

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BUY
Omega_049

Roy Kill

Omega_049

Acrylic paint on cardboard (framed)
Unique work
180 cm x 120cm

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BUY
Greenbelt_050

Roy Kill

Greenbelt_050

Acrylic paint on cardboard (framed)
Unique work
180 cm x 120cm (framed)

High Numbers Gallery

BUY
Jørgen Missotten
Jørgen Missotten

NUMBER TWO
MONO, FROM WITHIN

BEMELMANS design
THE BOLD COLLECTION
FROM SUNDAY 12.01 —⁠ 01.03

Bemelmans Design is a Belgium-based studio founded one year ago by designers, and former classmates, Wout Bemelmans and Lode Debackere. The studio focuses on high-end collectible design which is completely made by hand in Belgium. Their first series called The BOLD Collection consists of elementary design objects made of solid wood and vibrant lacquer, intertwining primitive and modernist typologies into contemporary archetypes.

Bemelmans used the condition humaine as a starting point. Being trained as designer and a psychologist, he analysed the current temperature of society and came to the conclusion that people crave for reconnection both on an inter-human and man-to-object level. During his quest to translate this tendency into furniture, he reminisced about the bare furniture his grandfather, a farmer, made for daily use. This heritage would finalise the aesthetics of the young designer.

In terms of composition and construction, Bemelmans’ work marks the conjuncture of brutalist architecture and vernacular design. The materials and techniques of the recent and the far past — woodwork and Danish rope-weaving — are contrasted with rounded corners and a softening lacquer, creating a specific visual identity that provokes feelings of gentleness and humaneness. Furthermore, Bemelmans uses colour as a material. Eschewing pre-existent schemes, he instead searched for meticulous hues that would layer the object instead of covering it. In short, Bemelmans Designs The BOLD Collection bravely sets out to seek balance in today’s current of extremes..

More information or price request:
hello@highnumbers.com

SAVE THE DATE:
vernissage 12.01 OPEN: 2-7 PM
OPEN SUNDAY 09.02


Cloud 01

Jørgen Missotten

Cloud 01

High Numbers Gallery

BUY
Peeling Light 01

Jørgen Missotten

Peeling Light 01

High Numbers Gallery

SOLD
Cloud 02

Jørgen Missotten

Cloud 02

High Numbers Gallery

BUY
Cloud 03

Jørgen Missotten

Cloud 03

High Numbers Gallery

BUY
Cloud 04

Jørgen Missotten

Cloud 04

High Numbers Gallery

BUY
Peeling Light 02

Jørgen Missotten

Peeling Light 02

High Numbers Gallery

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Peeling Light 03

Jørgen Missotten

Peeling Light 03

High Numbers Gallery

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Cloud 05

Jørgen Missotten

Cloud 05

High Numbers Gallery

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Bemelmans design
Bemelmans design

NUMBER TWO
MONO, FROM WITHIN

BEMELMANS design
THE BOLD COLLECTION
FROM SUNDAY 12.01 —⁠ 01.03

Bemelmans Design is a Belgium-based studio founded one year ago by designers, and former classmates, Wout Bemelmans and Lode Debackere. The studio focuses on high-end collectible design which is completely made by hand in Belgium. Their first series called The BOLD Collection consists of elementary design objects made of solid wood and vibrant lacquer, intertwining primitive and modernist typologies into contemporary archetypes.

Bemelmans used the condition humaine as a starting point. Being trained as designer and a psychologist, he analysed the current temperature of society and came to the conclusion that people crave for reconnection both on an inter-human and man-to-object level. During his quest to translate this tendency into furniture, he reminisced about the bare furniture his grandfather, a farmer, made for daily use. This heritage would finalise the aesthetics of the young designer.

In terms of composition and construction, Bemelmans’ work marks the conjuncture of brutalist architecture and vernacular design. The materials and techniques of the recent and the far past — woodwork and Danish rope-weaving — are contrasted with rounded corners and a softening lacquer, creating a specific visual identity that provokes feelings of gentleness and humaneness. Furthermore, Bemelmans uses colour as a material. Eschewing pre-existent schemes, he instead searched for meticulous hues that would layer the object instead of covering it. In short, Bemelmans Designs The BOLD Collection bravely sets out to seek balance in today’s current of extremes..

More information or price request:
hello@highnumbers.com

SAVE THE DATE:
vernissage 12.01 OPEN: 2-7 PM
OPEN SUNDAY 09.02


Bold Collection

Bemelmans design

Bold Collection

High Numbers Gallery

BUY
Bold Collection

Bemelmans design

Bold Collection

High Numbers Gallery

BUY
Bold Collection

Bemelmans design

Bold Collection

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BUY
Bold Collection

Bemelmans design

Bold Collection

High Numbers Gallery

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Tom Andries
Tom Andries

number one
Hidden landscapes of letters
tom andries
from sunday 3.11 —⁠ 21.12

Tom Andries (1969) is a Belgian multidisciplinary designer and contemporary artist. His main body of work consists of abstract monochromes painted with black ink. Originally trained as a typographer and having made a generous career in graphic design and branding, Tom uncovers the hidden beauty of typography, by zooming in on its intrinsic abstract qualities. Inspired by minimalism, modernist painting and mid-century architecture, his work reflects an ongoing quest towards the absolute bare essence of art.

The proof is in the painting. The largest part of Tom’s work-process is absorbed by the meticulous preparation of a heavily texturised black ink – a mix of acrylic, Indian ink and charcoal – which he generated himself and has perfected over the years. The act of painting consists of but a few sudden and concise strokes of the heavy brush within a short frame of time, referencing to gesture painting. All is done in complete silence.

For the exhibition Hidden Landscapes of Letters, also the title of his monograph, Tom delves deeper into the very essence of typography: the grid. Every letter is shaped in relation to a certain framework. By using standard DIN paper A-formats and common canvas sizes, the work-field of the letter becomes even more part of the composition. Also for the first time, Tom has painted solely the grid and not the letter, wandering through the landscapes of pure form.

More information or price request:
hello@highnumbers.com

SAVE the date: rivoli opening
sunday 03.11 open : 2 —⁠ 7 pm

TA_24_PA_45| 2024

Tom Andries

TA_24_PA_45| 2024

High Numbers Gallery

SOLD
TA_24_PA_44| 2024

Tom Andries

TA_24_PA_44| 2024

High Numbers Gallery

SOLD
TA_24_PA_43| 2024

Tom Andries

TA_24_PA_43| 2024

High Numbers Gallery

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TA_24_PA_42| 2024

Tom Andries

TA_24_PA_42| 2024

High Numbers Gallery

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TA_24_PW_05| 2024

Tom Andries

TA_24_PW_05| 2024

High Numbers Gallery

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TA_24_PW_04| 2024

Tom Andries

TA_24_PW_04| 2024

High Numbers Gallery

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TA_24_PW_03| 20

Tom Andries

TA_24_PW_03| 20

High Numbers Gallery

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TA_24_PW_02, 2024

Tom Andries

TA_24_PW_02, 2024

High Numbers Gallery

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TA_24_PW_01| 2024

Tom Andries

TA_24_PW_01| 2024

High Numbers Gallery

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TA_24_PA_46| 2024

Tom Andries

TA_24_PA_46| 2024

High Numbers Gallery

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TA_23_PW_02| 2023

Tom Andries

TA_23_PW_02| 2023

High Numbers Gallery

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TA_22_PW_02| 2023

Tom Andries

TA_22_PW_02| 2023

High Numbers Gallery

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