'You cannot fail to be moved by Carole Vanderlinden’s paintings. They are direct, compact, powerful and amusing. They are disarming. They are a nod to the history of art. They are very rich, but also very simple. (…) Vanderlinden’s paintings always look different despite recurrent elements such as oblique passe-partouts, plant motifs, skies and expanses of water, contrasts between thick and thin or matt and shiny painted sections and textures which give the impression of having created a ‘vista’. Some paintings could be an amusing take on the work of Fernand Léger. (…) All in all, her paintings appear to be sober settings for minor, sensual accidents which, once noticed, monopolize your attention, but then retreat coyly: a spot, a flowing element in an geometrically constructed painting, or a colour which suddenly takes on a seemingly luminous quality. (…) Thinking of Vanderlinden’s fascination with early art and folk art, how this fascination has led to sketchbooks and scrapbooks and how they have sometimes resulted in autonomous paintings, reminds me of Gustave Flaubert of whom it was said that he cut down a forest to make a toothpick, but then in the spirit of his celebrated heroes Bouvard and Pécuchet who tried to master every branch of knowledge of their time. For, indeed, what also seems to fascinate Vanderlinden in this inexhaustible profusion of artefacts is the futile attempt of artists and craftsmen to acquire knowledge or to gain an understanding of the world or nature by means of these objects.(…)'

Montagne de Miel, 8 November 2014
 Hans Theys, 'Two feet on the ground and two in the air - a few words about the work of Carole Vanderlinden