Vic Gentils was born in Ilfracombe in 1919. He studied at the Antwerpse Koninklijke Academie voor Schone Kunsten between 1934 and 1938, furthering his training at the Hoger Instituut of the same academy between 1940 and 1942. Often pigeonholed as a surrealist, Gentils was in fact interested in a variety of trends that punctuated the 20th century: expressionism, art informel, neo-surrealism, Belgian new realism. His involvement in the scene explains his foundational role in the G-58 group, which he co-founded with fellow Belgian artist Pol Mara.

His knowledge of national and international avant-garde practices helped Gentils position himself within this rich history. Indeed, one particular artwork cemented his place in Belgium’s art history. After abandoning painting for sculpture, Gentils did not forget the painters to whom Belgium owed its recent cultural heritage. Reliefs inspired by Louise Nevelson began to popularise his work. He was a great admirer of wood and did not hesitate to re-use the most unexpected pieces of the material, such as piano parts, chair and table legs and hat moulds.

In 1984, he created a three-dimensional reinterpretation of an 1889 etching by the celebrated artist James Ensor, entitled Ensor et ses squelettes veulent se chauffer. By adding his grin-inducing dark humour (which he shared with Ensor), Gentils managed to convey his own personality and sensibility in what is ultimately a work of homage. From that time on, this tongue-in-cheek aspect of his work became his signature.

Gentils was made an officer of the Order of Leopold and Knight of the Order of the Crown. In 1993, he was knighted by the King Albert II.

Gentils passed away in Aalst in 1997.