Photo P. Cox

The installation Beyond Landscape 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.


Beyond Landscape II (detail), 2021, 101 x 132 cm, gold leaf on magnolia panel, Photo P. Cox

Beyond Landscape IV (detail), 2021, 66 x 51 cm, graphite on oak panel, private collection the Netherlands

'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 was made for the art project MIRRORS of TIME 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. X-ray image ©KIK-IRPA Brussels

Come Closer, 2020, 98 x 172 cm, goldleaf on linden panel, private collection the Netherlands


Come Closer and the other works shown in this project interact with the historic walls of the castle. Together they resemble the subtle surfaces of Medieval polychromed sculptures and altarpieces.




Colour composition maple tree, 2019, 93 x 72 cm, gold leaf and pigments in egg tempera and graphite on oak panels, private collection the Netherlands




"I create portraits of trees instead of people."

These portraits explore various characteristics of one particular tree: the tree's structure, the variations of light through its leaves and the colours of its bark.





Portrait of a maple tree (detail), 2019, 93 x 72 cm, gold leaf on linden panel, private collection the Netherlands



Portrait of a maple tree (detail), 2019, 93 x 72 cm, pigments in egg tempera and graphite on linden panel, private collection the Netherlands



Portrait of a maple tree, 2019, 93 x 72 cm, pigments in egg tempera and graphite on linden panel, private collection the Netherlands





Charlotte masters six centuries of Western European painting materials and techniques and has always been focussed on the physical side of art and how it communicates. Materials have their own specific poetry, which can be a strong tool to connect with the beholder. The reflection of gold and its glow transcend the two-dimensional plane. One has to be physically present to fully experience a work.



Scenery I (single part of diptych), 2019, 26 x 39 cm, gold leaf on oak panel, private collection Germany



Scenery I (single part of diptych), 2019, 26 x 39 cm, pigments in egg tempera and graphite on canvas, private collection Germany



Monochrome, 2017, 35,5 x 28,5 cm, caput mortuum bound in egg tempera on oak panel, private collection the Netherlands

Homage to Agnes Martin, 2020, 30 x 23 cm, pigments in egg tempera, goldleaf and graphite on linden panel, private collection Belgium






“My materials bring their own story. I do not only connect to the past by using historic painting techniques, but also I often work with historic materials such as 17th century wood and writing paper. I create 'relics of time' that connect with the people that handled these materials centuries ago.”



Timelines, 2018, 62 x 62 cm (including frame), 17th century pine and gold leaf on oak wood, private collection the Netherlands



Brassicaceae, 2017, 67 x 30 cm, gold leaf and pigments in egg tempera on historic paper, private collection USA