Whispers in the lake house. 2017
Whispers at the lake house, steel, glass, brass, paint, wood, 50 x 63 x 30cm
Whispers at the lake house characterizes, among other things, the home from my childhood. By working with different levels, glass, steel and the brick wall. The suggestion to a spot at the lake is a desire as well as the foldable screen that breaks through the space.
This work that looks balanced is actually a chaos of desires and memories that all come together. In general, this sculpture is not an exact copy from reality even though that impression is awakened by working with the language of an architectural model and plan.
Le papillon de l’ architecture. 2017
Le Papillon de l’Architecture is a site specific installation. scale 1:1, steel, wood, glass, fabrics, meranti.
The title of the work refers to the freedom and the movability of a butterfly.
The foldable folding screen is placed in the room in such a way that the spectator is obliged to follow the path of the work.
It is also possible, and sometimes it must be, to step through the work in some places.
There are pieces of glass, textiles and sustainable wood in the work that refer to the modernist architecture from my memories.
Shop/pharmacy: 48x 51 x 26cm, wood, glass, steel, plastic, paint.
Shop / Pharmacy is a work where I refer to the fact that I grew up as a child in a modernistic apartment building with shops on the ground floor. As a child, I grew up in an apartment building and the ground floor was the playground for me. This is one of the stores where we as a child ran inside and out.
The shop / pharmacy is a work from the series of shops. It is not a realistic scale model but it is a sculpture that refers to the images from my memories.
It is a sculpture on the wall. The back of the sculpture is painted green and reflects on the wall. This green sheen on the wall around the work refers to the pharmacy.
Note: The text above was written by the Artist. No modification was made by C.O.C.A.
Caroline Van den Eynden's (°1982, Belgium) work depict fictitious places brimming with real memories. She creaties staged spaces through a working method of meticulous dexterity, entirely performed by hand. However, while Caroline's work appear to approximate buildings in an architectural context, they do not play by all these architectural rules; instead, they are a perfectly finished whole that remains inconclusive. Caroline's work is a direct reflection of the artists academic background combining art and architecture. Over the past 5 years, her work has been exhibited widely at a variety of galleries, art spaces and art fairs throughout Europe and Japan.