Marjolein Knottenbelt

236 used Weigingscales

In the serie “the painting reversed “ I collected neglected and disregarded works from unknown artists. These “unimportant” works, unqualified for restoration had paint falling off at the slightest touch. For the work I helped the unavoidable decay proces along, methodically dissecting and removing all the loose paint but at the same time like an archeologist carefully preserving, processing, labeling and systematically cataloging the remains. This intimate proces of reverse painting investigates new forms of continuing to be and a the same time represents the cycle of life. The research investigates how far I can reverse the painting process, into a new configuration, where there is a new significance to the work. The importance seems to shift from visual to a more conceptual idea on impermanence.

In the serie “the painting reversed “ I collected neglected and disregarded works from unknown artists. These “unimportant” works, unqualified for restoration had paint falling off at the slightest touch. For the work I helped the unavoidable decay proces along, methodically dissecting and removing all the loose paint but at the same time like an archeologist carefully preserving, processing, labeling and systematically cataloging the remains. This intimate proces of reverse painting investigates new forms of continuing to be and a the same time represents the cycle of life. The research investigates how far I can reverse the painting process, into a new configuration, where there is a new significance to the work. The importance seems to shift from visual to a more conceptual idea on impermanence.

In the serie “the painting reversed “ I collected neglected and disregarded works from unknown artists. These “unimportant” works, unqualified for restoration had paint falling off at the slightest touch. For the work I helped the unavoidable decay proces along, methodically dissecting and removing all the loose paint but at the same time like an archeologist carefully preserving, processing, labeling and systematically cataloging the remains. This intimate proces of reverse painting investigates new forms of continuing to be and a the same time represents the cycle of life. The research investigates how far I can reverse the painting process, into a new configuration, where there is a new significance to the work. The importance seems to shift from visual to a more conceptual idea on impermanence.

“I don ’t look at EBay and see a collection of still lives,” William Cult said in his discussion about “social photography” . .. but I do.. In this serie I borrowed different foto’s selling caravans from Markplaats (something like eBay). Their initial job solely: a quick point of clarification for seller interest. In my work I collect things, objects or images that speak to me. In these images I recognize connection to previous relationships, functions and history. I am interested in the tension between the two worlds. By taking the images out of their setting and placing them into an unconventional situation, a new space is created. In these pictures the beautiful mix of functional intimacy and sentimental value is mostly overlooked. Their fate uncertain, and most deleted after purpose is served. By lifting them into an art form they skip their fate of vanishing, being lost for ever. Saving them is key, essential is the recognition of intimacy of the other involved.

In the serie “the painting reversed “ I collected neglected and disregarded works from unknown artists. These “unimportant” works, unqualified for restoration had paint falling off at the slightest touch. For the work I helped the unavoidable decay proces along, methodically dissecting and removing all the loose paint but at the same time like an archeologist carefully preserving, processing, labeling and systematically cataloging the remains. This intimate proces of reverse painting investigates new forms of continuing to be and a the same time represents the cycle of life. The research investigates how far I can reverse the painting process, into a new configuration, where there is a new significance to the work. The importance seems to shift from visual to a more conceptual idea on impermanence.

In the serie “the painting reversed “ I collected neglected and disregarded works from unknown artists. These “unimportant” works, unqualified for restoration had paint falling off at the slightest touch.

The serie survivors is about consumerism, about anti-art, but also about recognizing how objects have connection to previous relationships, functions and history.These objects have bypassed their use; mist their function of clothing a human bodying being part of defining their identity. Managing to stay unemployed, they remain perfectly preserved, frozen in time.

This installation considers the contemplation of transience. We are in state of impermanence. Being and disappearing. Fading, slowly diminishing. the mirror is also about truth, There is also the question of our collective identity, about truth and wel as and how we view the self in relation to the past and the present.

intallation;475 trophies 2018 As the uphill battle against impermanence continues, we fight to earn our mark in history. The aim is to be remembered.This tragicness is reflected in the sheer amount of trophies that stand. Stripped of value, their significance is lost in history through time. The evidence of success has turned into forgotten accomplishments. Why is there a need, to recognize and be recognized? As the installation stands: a huge growing blob of trophy’s on a floor, the tragedy shifts to a sense of humoristic absurdity.