Charlot Van Geert (b. 1992) turns things upside down, figuratively speaking. She shakes up our unwavering faith in object and matter. By stripping objects of their seemingly obvious meaning, she creates new contexts, humorous situations and critical reflections on the objects and art we surround ourselves with.
As a sculptor, she deals subversively with the materials traditionally given to her. In doing so, she challenges not only their reality, but also her own role as an artist. From working with lesser materials such as cardboard, Styrofoam or PU foam, to the connection between the correct material and the appropriate look (spirit levels made of bronze, lamps made of Styrofoam), Van Geert likes to lead us astray.
She plays a game with design and the functions of objects: is it a utilitarian object or is it art? If a candlestick is art, can you burn a candle in it? As soon as that question arises, it is also about the sacredness of art: does something still have artistic value when it can be manipulated, get dirty, be allowed to fall? There is no need to fear fingerprints: those of the artist are often present, even in bronze reliefs, in which the traces of the kneaded wax model are still clearly visible. Van Geert purposefully sweeps her proverbial feet from the high status of art by elevating everyday objects, such as a doormat and a six-pack can holder, into artistically sophisticated materials. Her idiosyncratic techniques negate the apparent, proud untouchability of bronze.