Drawing Week Brussels is an annual celebration of drawing in all its forms, bringing together artists, collectors, and enthusiasts from across Europe. Among the featured artists this year is Léa Dubois, a Brussels-based illustrator whose work explores the intersection of urban life and natural forms. In this exclusive interview, Dubois shares her creative journey, her sources of inspiration, and practical advice for attendees of Drawing Week Brussels.
Léa Dubois: Background and Artistic Journey
Léa Dubois was born in Liège in 1985 and studied at the Royal Academy of Fine Arts in Brussels, where she earned her master's degree in visual arts in 2009. She has since exhibited in galleries across Belgium, including Galerie La Forest Divonne in Brussels and Museum M in Leuven. Her work is held in private collections in Belgium, France, and the Netherlands. Dubois is known for her detailed pen-and-ink drawings that often combine architectural elements with organic patterns.
When asked about her early influences, Dubois mentions the work of Belgian surrealist René Magritte and contemporary artist Marlene Dumas. “Magritte taught me to see the extraordinary in the ordinary,” she says. “Dumas showed me that drawing can be raw and emotional.” She also credits the botanical illustrations of Pierre-Joseph Redouté, whose precision and delicacy inspire her own approach to line work.
Creative Process and Techniques
Dubois works primarily with India ink and fine-liner pens on 300 gsm acid-free paper. She begins each piece with loose graphite sketches, then layers ink using hatching and stippling. A single A3 drawing can take 40 to 60 hours to complete. “I draw slowly, often listening to audiobooks or field recordings of city sounds,” she explains. “The rhythm of the pen becomes meditative.”
She also experiments with digital tools, using a Wacom Cintiq tablet for preliminary compositions. However, she always returns to traditional media for the final piece. “The physicality of ink on paper is irreplaceable,” she says. “There’s a risk and a reward that digital can’t replicate.”
Dubois’s recent series, Urban Flora, combines sketches of Brussels’ Art Nouveau buildings with intertwined vines and leaves. She spends hours photographing facades in the Sablon district and the Parc du Cinquantenaire. “I’m fascinated by how nature reclaims concrete,” she notes. “My drawings are a way of documenting that slow takeover.”
Inspiration from Brussels and Beyond
Brussels itself is a major source of inspiration. Dubois regularly visits the Drawing Week Brussels schedule to plan her attendance at workshops and lectures, but she also finds creative fuel in the city’s museums and streets. The Royal Museums of Fine Arts of Belgium, the Horta Museum, and the street art of the Marolles district all feed her visual language.
“I love the contrast between the orderly geometry of the Palais de Justice and the chaos of the flea market at Place du Jeu de Balle,” she says. “That tension appears in my work as ordered lines disrupted by organic shapes.” She also travels regularly to the Ardennes for hiking, where she sketches tree bark and rock formations. “Nature resets my eye,” she adds.
Dubois maintains a sketchbook that she carries everywhere. She fills it with quick studies of café patrons, tram passengers, and pigeons on the Grand Place. “Drawing from life keeps my hand honest,” she says. “I never know which scribble will become a finished piece.”
Advice for Emerging Artists at Drawing Week Brussels
Dubois encourages visitors to buy tickets early and plan their time carefully. She recommends attending at least one workshop to learn a new technique. “Even experienced artists can benefit from a fresh perspective,” she says. “I always sign up for something outside my comfort zone.” She points to the top workshops for beginners as a good starting point, but also highlights the advanced sketching workshops for those with more experience.
For those nervous about sharing their work, Dubois advises: “Bring a small portfolio. The feedback from peers and established artists is invaluable. I still remember the advice I got at my first Drawing Week Brussels—it changed how I approach composition.” She also suggests visiting the art market to see how other artists present and price their work. “Prices for original drawings at the fair range from €150 for small studies to €2,000 for larger pieces. It’s a good benchmark.”
When it comes to materials, Dubois recommends investing in quality paper and ink. “You don’t need the most expensive pens, but paper that can handle multiple layers is essential. I buy my supplies at Bureau Central on Rue des Éperonniers—they have a great selection of fine-liners and India ink.”
The Role of Drawing in Contemporary Art
Dubois believes drawing is often undervalued compared to painting or sculpture, but she sees a resurgence in interest. “Drawing is immediate and intimate. It’s the closest record of an artist’s thought process,” she says. She cites the growing number of drawing fairs globally, such as the London Drawing Fair and the Salon du Dessin in Paris. “Drawing Week Brussels is part of that movement. It’s a place where the medium gets the respect it deserves.”
She also notes that drawing has become more inclusive. “You don’t need a studio or expensive materials. A pencil and paper are enough. That accessibility is powerful, especially for young artists.” Dubois teaches a monthly life-drawing class at a community centre in Ixelles, and she sees participants from all backgrounds. “Everyone can draw—it’s a skill, not a talent.”
For those interested in the logistics of attending, Dubois points to the what to expect article, which covers the layout of the venue, the schedule of talks, and tips for navigating the crowds. “The atmosphere is friendly but busy. Wear comfortable shoes and bring a water bottle.” She also reminds artists that workshop registration tips can help secure a spot in popular sessions, which often fill up within hours of opening.
Future Projects and Final Thoughts
Dubois is currently working on a series of large-scale drawings for a solo exhibition at the Centre d'Art Contemporain de la Ville de Bruxelles in autumn 2025. The series, titled Concrete Jungle, will feature panoramic views of Brussels with exaggerated plant growth overtaking landmarks. She plans to use a mix of ink and watercolour on paper mounted on canvas. “It’s a departure for me,” she admits. “But I want to push the boundaries of what drawing can be.”
She also hopes to collaborate with a local ceramicist to translate her drawings onto tiles. “That’s a long-term goal. For now, I’m focused on the exhibition.” Dubois will be present at Drawing Week Brussels on Saturday 15 March from 10:00 to 12:00 for a meet-and-greet at the artist lounge. “Come say hello. I’d love to see your sketchbooks.”
Her parting advice for aspiring artists is simple: “Draw every day, even if it’s just for five minutes. Look closely at the world around you. And don’t be afraid to make bad drawings—they’re part of the process.”
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