Charline Tyberghein's paintings are witty interventions. They are a pleasure to look at, playful in their simplicity, but her kind of humor is never noncommittal. Her paintings are crafted, as it were. She cherishes belgitude. Painting in the wake of the Brussels surrealists, her work is visually very pleasing, but there is an edge to it. She strives to overturn this aesthetic by confusing her paintings with everyday themes. They are populated by everyday objects and symbols. In this way, she generates a shift from art object to utilitarian object. They occupy the middle ground between the mundane and the unattainable. You could best describe them as reading exercises: the surfaces of her paintings struggle with the meaning that lies beneath them. Object and language, the material and the mental, intertwine and become confused. They are complex while looking stupidly simple. While exhibiting, Charline seeks a connection to the surrounding space. Her paintings reference the old trompe l'oeil techniques; they are often deceptive optical illusions of space and perspective, but the actual surface is flat. She searches for a way to place sculptural elements in the two-dimensional paintings, to literally give them a new dimension.