Belgian Axel Vervoordt is a master of ambiance creation.
His reformist vision of decoration—inspired by the delicate beauty of imperfection and the praise of emptiness that frees energies saturated by the superfluous—borders on a kind of Zen dandyism.

He approaches curation intuitively, notably during the Venice Art Biennales with Artempo, In-Finitum, Tra, and Proportio, his exhibitions on esoteric themes presented within the sumptuously faded walls of the Palazzo Fortuny.
Fascinated by Eastern spirituality, he is a pioneer of Wabi Sabi, a mindset that celebrates organic materials and highlights the beauty of things that are fleeting, incomplete, understated, humble — and beautifully unconventional. His systemic approach to decoration also initiates a dialogue between art and craftsmanship, between ancient civilizations and the contemporary world.
As an aesthete, Vervoordt seeks to elevate interior design to the level of philosophy, rejecting ostentation in favor of simplicity that liberates spaces from confusion, and highlights the beauty and purity of objects, furniture, and artworks.

First an antique dealer, then a decorator, and later a gallerist in Antwerp and Hong Kong, he restored Kanaal, a former malt factory near Antwerp, preserving the purity of its industrial architecture. He showcases works by Fontana, Anish Kapoor, and El Anatsui, but also revives two somewhat forgotten avant-garde movements: the Japanese Gutai and the Zero movement of his compatriot Jef Verheyen.

If Vervoordt can be seen as a decoration guru, then Bel Œil proudly proclaims itself his unwavering disciple!