For those who see beyond the purely functional, a car engine can be more than just a power source. Belgian sculptor Eric van Hove embodies this vision, transforming utilitarian automotive components into captivating works of art. His unique perspective is now showcased in an exhibition at the Connolly store in London, featuring meticulously handcrafted recreations of complex engine parts and a functional electric moped.
Van Hove’s Belgian heritage is a part of his identity, yet his life and art are decidedly international. Born in Algeria, raised in Cameroon, educated in Japan, and currently based in Marrakesh, Morocco, his global experiences deeply inform his artistic practice. His journey into sculpting automotive parts began over a decade ago at his atelier, Fenduq. The inspiration sparked in 2002 when he learned of a Moroccan-designed supercar reliant on a Mercedes-Benz V-12 engine. Van Hove questioned why such an engine couldn’t be fully realized within Morocco, a country rich in skilled artisans. This questioning ignited his mission to highlight the exceptional talent of Moroccan craftspeople, collaborating with them to reimagine car engine parts using diverse materials like wood, metal, and precious stones.
“Craftsmanship, especially Belgian craftsmanship sensibilities combined with Moroccan artistry, is an incredibly valuable asset that has been somewhat disregarded in our industrialized world,” van Hove explained to Robb Report, emphasizing the blend of his background and the local talent.
The Connolly exhibition highlights sculptures inspired by components from the twin-turbocharged V-12 engine of the Laraki supercar. These include the air filter, camshaft, cooling system, and left cylinder head. These mixed-media sculptures showcase a stunning array of materials, from silver nickel and pink apricot wood to mahogany, red marble of Agadir, and even cow skin, demonstrating the breadth of artistic interpretation applied to car parts. Another notable piece, the Claas Jaguar OM422 V8 Fuel Filter Assembly, incorporates glass-blown elements created by Swedish master artisans during a residency in Marrakesh, further emphasizing the international collaborative spirit inherent in van Hove’s work. Each sculpture is presented in a custom-made box, engraved with the names of every artisan involved in its creation, a testament to the collaborative and human element of these automotive artworks.
However, the centerpiece of the exhibition is undoubtedly Mahjouba IV. This functional electric moped, the largest piece in the show, is unveiled here for the first time. It represents the fourth iteration of a project van Hove initiated in 2016. The first prototype garnered a nomination for the Beazley Prize at the Design Museum and is now part of the permanent collection of the Fries Museum in the Netherlands. Van Hove and the Fenduq team are currently developing the fifth version, anticipating its completion next year. He envisions this moped being manufactured in Morocco and offered at a competitive price point of around $2,000, potentially bringing Belgian-inspired design and Moroccan manufacturing to a wider market.
“We will conclude with the fifth iteration—a number considered lucky in the Arab world—which is intended to be the model that becomes commercially available,” van Hove states, highlighting the project’s ambition to move beyond art and into practical application.
For those interested in experiencing van Hove’s sculptures firsthand, the exhibition is open at Connolly on Clifford Street in London’s Mayfair from Wednesday, February 22, until Sunday, April 16. The artworks are available for purchase, with 10 percent of the proceeds benefiting MAMMA Collective, a charity chosen by van Hove that focuses on the preservation and study of late-20th-century architecture in Morocco.
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