Ultramarine I (detail), 2023, 27,5 x 45,5 cm, mineral pigments in distemper on historic paper
Natural ultramarine and azurite in their mineral form
The series ultramarine | citramarine reflects on presence opposed to distance. This side of the sea versus the other, symbolised by the blue pigments azurite and ultramarine.
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 panels that formed the installation Beyond Landscape were sampled by Charlotte. Examined under a microscope these samples show the geology of the layers of paint present, revealing new landscapes. On this microscopic level one starts to wonder about the origins of the used materials: Chalk formed out of fossils of minuscule marine life, wooden supports which once were trees in a forest and the elements present in earth pigments and metals existing from earliest times onwards.
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.
X-ray image ©KIK-IRPA Brussels
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. The golden panel follows the central painting of Jan van Eyck's Mystic Lamb triptych (1432) in dimensions and structure. On the position where once the Medieval saints were depicted, now the image of the beholder is reflected.
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.
