Since 2022, Kat Bové has expanded her reach by sharing her creative process on Instagram, posting near-daily glimpses into “the making of” her drawings. This growing online presence led to an invitation to design artwork for the artistic calendar of De Sprekende Ezels (The Talking Donkeys), a Belgian collective that hosts experimental spaces for poetry, painting, comedy, and art across the country. Her work caught the attention of journalist Kristof Bohez, who featured her in two articles in the summer of 2023 in Het Belang van Limburg and Het Nieuwsblad. Kat also discussed her drawings in a live interview with Rani De Coninck on Joe FM. Since then, demand for Kat’s work has surged. In September 2024, she held her first solo exhibition at CC de Zeepziederij in Bree, followed by another solo show at Gallery Nodenaysteen in Ghent in March 2025. In February 2024, she won the prestigious PUSH Prize at the Picturale 2024 competition in Ronse, recognizing both established and emerging illustrators. Through her art, Kat Bové explores the façade of modern social life, peeling back the polished exteriors to reveal the mundane and often fragile realities lurking beneath. Her work screams, “Look at me - see me,” yet as we draw closer, we hear the uncertain, lonely whisper of vulnerability. The contrast she plays with lies in the tension between naked vulnerability and an iconic, strong presence—between the humorous message and the deeply sad reality. Bové seems intent on lifting the mask we all so eagerly wear, inviting the transformative, wandering soul to find their reflection in her work. People appear so happy and perfect, but what lies behind the façade? Kat Bové mocks this pretense with sharp wit. Using nudity as a weapon, she unmasks the superficial, forcing us to look and look away simultaneously. Those who dare to look further discover the hidden message and are granted a glimpse behind the façade. The self-assured icon—the self-proclaimed superwoman—reveals herself to be as fragile as porcelain, as sad as a child in boarding school, as exhausted as a single mother, or as lonely as a flight attendant alone in her hotel room. Ultimately, she remains alone, standing before her mirror and among her own paintings, a reflection of both her strength and her solitude.