Grey from Burgundy, 2022, 51 x 66 cm, pigments in distemper on oak panel, private collection, photo Niels Coppes
Landscape in gold II, 2022, 93 x 72 cm, gold leaf on oak panel, photo Niels Coppes
Grey Earth was a solo presentation at Art Rotterdam (2023) in collaboration with BorzoGallery, focussing on the most elementary aspects of both landscape and painting: light and matter, symbolized by gold and earth pigments. The objects in this presentation resonate with nature and the micro cosmos present within a painting.
Cross section Beyond landscape III, 50x magnification, photo Johanneke Verhave
Some of the objects that were part of the installation Beyond Landscape were sampled by Charlotte. Examined under a microscope these samples show the geology of the artworks involved, revealing new landscapes. On this microscopic level one starts to realize that chalk was formed out of fossils of minuscule marine life, that the wooden supports once were trees in a forest and that the elements present in earth pigments and metals exist since the formation of our planet.
Photo Peter Cox
Beyond Landscape IV (detail), 2021, 66 x 51 cm, graphite on oak panel, private collection
The installation Beyond Landscape (2021) was made specifically for EENWERK and is all about concentration and connection. The gallery space functions as a lens that zooms deeply into the matter of landscape, deconstructed to its most elementary.
'The surfaces and shapes do not set us at a distance but invite us to come closer. Our eyes follow the contours of the incisions and undulations as if they were footpaths. The longer you stand before them, the more you lose yourself in the depth of the image. These are landscapes without recognisable elements, but nevertheless comprise a whole world. Where are we?'
Click here to read the complete essay accompanying the exhibition.
Come Closer (2020) was a site specific installation made for the art project MIRRORS of TIME
organized by Forumtri and curated by Annemarie van Laethem, Eric Croux and Mat Verberkt in castle d'Aspremont-Lynden.
It follows the central panel of Jan van Eyck's Mystic Lamb triptych in dimensions and structure.
By using a technique that predates Van Eyck's work (a burnished Medieval water gilding) the original
work becomes, in a metaphorical way, encircled in time.
Timelines, 2018, 62 x 62 cm, 17th century pine and gold leaf on oak wood, private collection
Studio Charlotte, was a solo exhibition in Museum Kranenburgh (2019) about Charlotte's studio practice and focussed on the meaning of her painting materials and the connection with the local landscape.
