​I am interested in places brimming with memories. Not to hold them, but to experiment with the tangible and the intangible. I encourage dreams and desires, use them as a starting point for my own work, and challenge the viewer to face their own fears, needs and thoughts. There are no existing objects in my work. The staged spaces, the suggestion of a loss of control, is presented as a sculpture made to scale. My working method consists of a certain loss of control; the lack of a precise location, the attempt to escape the urban equality.
 
My sculptures and installations are created with meticulous dexterity. I work by hand using raw and precious materials. The formal result is similar to a model in an architectural context. It seems to meet the architectural rules, but differs at crucial points. I build a tension field that links transparency to emptiness; I create a perfectly finished whole that is still inconclusive; I combine precious metals with raw materials.
 
Meanings and psychology form the starting point, bordering on surrealism, but with the desire to return to reality rather than to escape from it. My work does not aim to convince or charm the spectator, but to destabilize and deceive them. I emphasize what others have failed to notice. People focus on their immediate vicinity or distant future; I stress passages, evolutions and unspoken possibilities, both in the future and the past. For many, a staircase is functional, for me, however, it is fundamental. Without stairs, doors or passageways, one can never achieve a different or higher level.
 
By pushing the boundaries of perception, through visualizing memories and desires, these models function as a spy hole from one reality to another...
 
"... Caroline Van den Eynden's work presents a spectrum of strained perceptions. Every model has something that attracts someone in search of reflection. The void is not a ghastly emptiness, the transparent small spaces evoke no social phobia, the absence of figures, movement or sound only resonates a pleasing form of silence.
 
Maybe this is because Caroline Van den Eynden does not pursue a literal representation of the building that served as inspiration for the object, but rather works from her memory, ensuring that the smaller scale copy is charged with those memories and feelings? Creating an almost surreal object, but a pure version of it ..."

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Click here for the exhibition: Belgian Connection One, ABSOLUUT

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