In his exhibition “Les Loques de Chagrin” (The Rags of Grief), Patrick Van Caeckenbergh seemed to create his own universe by staging an eclectic group of works and installations that at first appeared to eschew clear interconnections. In an installation near the entrance, one saw three snakeskins filled with eggs, hanging vertically from an iron broom handle. It seemed that something had dripped out of these dead bodies into two chamber pots placed under the ends of the snakes’ tails. This eerie assemblage was accompanied by works including a sort of small sideboard, a display cabinet, an