- Art Foundation "De Kweekelinghe" teacher Willy Langmans
- Institute for Craftmanship in Mechelen
- Art Academy Mechelen
- workshops and specialization raku with Rudie Delanghe, Tjok Dessauvage, Horst Göbbels, Blayne Knox
- to a large extent self-taught, which was a deliberate choice because of the influences limit others as much as possible and strive for their own ceramic accents. Exhibitions and activities
- former teacher of ceramics at Art Foundation "De Kweekelinghe" in O.L.V.Waver
- G-Eighteen (the Netherlands) - participation in craft markets, rakufestivals and the like
- Steenbakkerij “Noeveren” Boom - Arts event Edegem 2012
- Exhibition at B&B Domus Silva (Koningshooikt)
- Exhibition artists Sint Katelijne Waver in the Sint Michielskasteel
- Fair for Crafts and Leisure - Sint Katelijne Waver
- International Ceramic Biennial Haacht 2015
- Art and Kado Heist op den Berg - Berlare lifestyle fair
- "Kwartet Fecit" group exhibition in Rivierenhof gallery in Deurne, 2014
- Art route Maurus Moreelsroute Mechelen
- 2015 - Third Prize international ceramics competition "Clay on the move"
- 2015 - Exhibition "Contrast" G-Achttien Nederland 2015
- B&B Domus Silva Koningshooikt 2016 exhibition - Kado Kado CC Kontich 2016 exhibition
- Annual participation Fortengordel province of Antwerp
Sometimes you don't have to search to find. A steering approach is enough.
You only need a paper boat. You give it a push on the water, after which it will find its own way that you have predisposed. Ceramics and photography are my boats, two sine qua non conditions in my life. They give me the opportunity to communicate in an authentic, non-hypocritical way.
The ceramic pieces are a counterweight to the material excess that has spread over humanity as a stifling oil slick.
I start from my own subjective idea of beauty.
Every ceramic piece is made with great care, concentration and dedication. No series production, but individual pieces, each with its own character and personality. You will find my own essence in it, my purest self, stripped of all peripheral ballast. Know me by my ceramics.
By making use of shaped matter I let the formless, intangible speak. The pieces tell a story about me but also about things that concern me, that touch me.
You must take your time to look at them, walk around them, allow them to penetrate into your soul, grasp the essence and experience its beauty. Take them, bite into them if necessary, but feel what I feel and experience what I experience.
Open your mind to that oxygen supply, universal essence, contemplation, purity, tranquility and dynamics and exchange a wink with something godlike.
De Bondt wants to communicate with his audience through his work. "Know me from my ceramics," he writes on his website. Take the time to look and grab it, turn it around, view it from all sides. Exactly what he does during his photo sessions. He is interested in the question of how the viewer experiences his work. He wants to make a work in which the viewer feels reflected. When does a work feel good, beautiful, in harmony? His answer is actually not surprising, although I would not have come up with one two three. He shows that all his forms are based on the ancient proportions of the golden section. An almost obvious simplicity, which however requires working drawings in advance and millimeter work during implementation. The material also plays a role. Initially, he worked a lot with stoneware, but lately mainly with porcelain. The purity and fragility of porcelain attracts him, he experiences the essence of the material as a certain tranquility. With the decoration, he experiments with color, with a matte and glossy finish, and then finds that it often turns out to be too colorful, too glossy. Too much is anyway a feature of present-day life that oppresses him. Too many things, too much noise, too many stimuli. In his forms he seeks silence, tranquility and essence.
He won third prize at the anniversary exhibition KLEI on the move with the work East meets West: formation of Pangea. Pangea is the super continent that originated some 250 million years ago. First and foremost I was struck by the line in that work between inside and outside, in this case also between black and white. Usually that boundary results in a closed circle, but here the line travels through three dimensions and plays a prominent role in the encounter where the title dares.