S T A T E M E N T
A B O U T B O T A N I C U S C O L L E C T I O N
The Botanical collection is painted with traditional oil paint on cradled wood. Marianne Hendriks paints in a direct impasto technique where brushstrokes are the artist's signature and character to be apparent. The technique allows the artist to be expressive, playful, explorative and risk taking.
The artist takes extensive time to observe and study nature. The artist intends to capture nature’s complexity. The artist has a true love for nature and is moved by nature.
The artworks have strong geometric forms and the artist plays with spatial and optical effects, dimensions and perspectives are manipulated. The artworks show movement rhythm and character. Symmetry is another element that the artist experiments and plays with.
Marianne allows the process as a constant rethink of how to represent nature and its forms and our understanding of plants. Leaving rules behind and to observe differently and questioning beauty and appearance.There is logic and illogic to the art work of Marianne and there is a hypothetical dreamstate in the work present. The transformative state of metamorphosis is a recurring theme. The plant is not just a plant, the artist implies and suggests that there is more happening and fuses with personal experiences and reflections.
Subtle referencing of the complexity of the human condition is reflected in the work and portrayed plants. Allowing individualism and personal response in the work to be influenced by emotions, excitement, feeling vulnerable, grief, anger, remorse, heart ache, desire, love, anxiety, failure, feeling lost, feeling unworthy, deep and profound fear, low and high moods, and being your own obstacles of thought. Showing complex, flawed and damaged plants yet with great admiration.
The artist describes the process as creating in the realm of uncertainty and uncertain outcomes. The artist wants to create tension, a sense of unease. Challenging what makes a good painting.
I N F L U E N C E S
The artist has a diverse background and delves in historic, theatrical, graphic and architectural methods.
Marianne Hendriks has a long practice of drawing and it is at the core of the creative process.
The work is strongly influenced by her degree in architecture, the artworks have a technical blueprint-like appearance, capturing geometry, rhythm and structures.
The artist has worked for several years in theatre design costumes, and performing herself. The artist is extremely conscious of storytelling and audience and the enchantment and excitement that creation holds.
Alongside she has also worked on campaign posters and events as a creative and was involved in the concept design and graphic execution process.
A R T H I S T O R Y I N F L U E N C E S
The artist has followed four years of training in traditional oil painting techniques, specialising in 17th century Dutch masters and 16th late renaissance Italian masters. The artist has copied master pieces to truly understand the techniques and methods. The artist is absolutely captivated by this and implicates the techniques in her own work.
The artist is constantly researching and trialing methods and techniques and is incredibly open minded and excited about art movements. There are strong influences of the trompe ‘l'oeil techniques, surrealism and Op-Art, the magic and excitement is what captivates Marianne hendriks.
Fauvism and Japonsim captivates Marianne Hendriks. The emphasis on nature as a subject. The direct loose powerful brushstrokes. The artist allows themselves to be moved and free. Where the soul of the artist is apparent and to break rules. In search of the other, naïf and playful, primitive.
A B O U T N E W B O T A N I C U S
Marianne Hendriks strives to push the Botanicus collection forward and in different directions. The artist aims to constantly expand by research and testing techniques. Part of the research is visiting museums, reading literature, visiting the theatre, going to concerts and taking trips into nature and mountains.
The new artwork is based on the Palm leaves in the Palm House of Kew Gardens London. The artist extensively observes nature and describes the presence of plants as captivating and complex.
As part of the research the artist has visited the Vatican in Rome and the Uffizi in Florence. Studying the techniques and the power of storytelling and nature represented by the great masters such Bottegelli, Michael Angelo and Davinci.