The paintings of Charline Tyberghein are witty, disrupted interventions. They are a joy to look at, playful in their simplicity, but her kind of humor is never without obligations. Her paintings are, as it were, crafted.
She cherishes the belgitude. While painting in the wake of the Brussels surrealists her work is visually very pleasing, but there is an edge. She strives to tilt this aesthetic by confusing her paintings with common themes. They are populated by daily objects and symbols. In this way she generates a shift from art object to object of use. They hold ground between the everyday and the unattainable. You could best describe them as reading exercises: the surfaces of her paintings wrestle with the meaning underneath. Object and language, the material and the mental, intertwine and become confused. They are complex while looking dumbly simple.
While exhibiting, Charline seeks a connection with the surrounding space. Her paintings refer to the old trompe l’oeil techniques; they are often misleading optical illusions of space and perspective, but the actual surface is flat. She seeks for a way to inject sculptural elements into the two-dimensional paintings, to literally give them a new dimension.