Booth E11
During Art Brussels 2018, Zwart Huis presents a solo show of Belgian artist Carole Vanderlinden (1973), who was invited by Philippe Van Cauteren (artistic director of S.M.A.K.) at the Triënnale in Kathmandu Nepal
in 2017. Vanderlinden was one of the few actual painters at the Triënnale in Nepal. She went out to buy wooden panels and used these as a canvas for her works, depicting the torn but at the same time proud Nepalese spirit.
The work of Carole Vanderlinden is an expedition in color, form, rhythm and pattern. She is a real painter, who tries to understand the nature of the support, the paint and the brushwork. Her paintings are direct, compact and powerful. They are disarming, nod towards art history and are at once extremely rich but also very simple.
She works without any preconceived idea. Layer after layer the paintings try to avoid being controlled or supervised in any way. In her work certain elements recur: diagonally painted framing, plant motifs, skies and bodies of water, contrasts between thick and thin or matt and glossy passages of paint, and textures which give the impression you can see through to
what lies beyond.
Vanderlinden studied at KASK in Ghent, and lives and works in Brussels.
During Art Brussels 2018, Zwart Huis presents a solo show of Belgian artist Carole Vanderlinden (1973), who was invited by Philippe Van Cauteren (artistic director of S.M.A.K.) at the Triënnale in Kathmandu Nepal
in 2017. Vanderlinden was one of the few actual painters at the Triënnale in Nepal. She went out to buy wooden panels and used these as a canvas for her works, depicting the torn but at the same time proud Nepalese spirit.
The work of Carole Vanderlinden is an expedition in color, form, rhythm and pattern. She is a real painter, who tries to understand the nature of the support, the paint and the brushwork. Her paintings are direct, compact and powerful. They are disarming, nod towards art history and are at once extremely rich but also very simple.
She works without any preconceived idea. Layer after layer the paintings try to avoid being controlled or supervised in any way. In her work certain elements recur: diagonally painted framing, plant motifs, skies and bodies of water, contrasts between thick and thin or matt and glossy passages of paint, and textures which give the impression you can see through to
what lies beyond.
Vanderlinden studied at KASK in Ghent, and lives and works in Brussels.
