In my artist’s toolbox there are gouaches that I make with pigments; paper; glue, and scissors. Working with gouache I find myself seduced by its density and opaqueness, its almost immediate luminosity. Assembled they find their rightful place in a “cosmos” (order). In trying to create a free space, structured, open and complete; the colour allows me to move forwards to share a source of Energy.I construct my painting like architecture. Beneath the seemingly ordered forms there is a creative “chaos”: rough outlines and strokes cast “at random”. This will then be partially or totally covered by coloured paper.
Put together, they will find their place in a "Cosmos" (order). Micro or macro formats: the analysis does not matter in the work, the color advances and shares a throbbing heart, a source of Energy. In his still lifes the white and beige shades spread with a knife put the materials in the spotlight (gesso, plaster, granular cement ...). These paintings spend a more intimate part of the pictorial world of CHC.
Alongside her work as a painter, Charlotte has created a carpet collection entitled "RHIZOMES". These are made of very high quality materials. The wool, silk and linen are worked with the hand knotted technique. The carpets are published by "RHIZOMES" in limited series and exclusively. Several formats are available. The particularity of these rugs is that they can also be presented on the wall as a tapestry or a painting. "RHIZOMES" is placed in this little niche of artist's CARPET and proposes his creations as works of art
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Charlotte Culot born in Belgium into a family of artists. From childhood, drawing was part of her universe. At the same time as university studies in Archeology and History of art, she discovered photography. Passionate about materials and colors, she embarked on research into walls throughout the world. Her eye was formed and shapened by this contact: structure of space, chromatic enrichment, a taste for detail leading to abstraction: all these elements were to be the source from which she would draw inspiration for future work as a painter. In 1988 she qualified in Archeology and History of art with a thesis on traditional earth vernacular architecture in West Africa. In 1990 she began to paint. Using mainly brown kraft paper to work on , she refound the gouaches, pigments and pastels from her childhood. Her taste for materials and textures led her onto the technique of collage. In time , colour has become the structural-subject space and major theme of her quest. ”Subject-object” gradually gives way to what might probably appear beyond or the “emerging force” through the bias for the color and material. Since 1990, Charlotte Culot exhibits in europe and since 1994 in the USA