Stopping here I let my eyes wande… the images sediments of light.
The portfolio’s in Interior are taken with a midle format analog camera (Bronica GS-1 and Hasselblad) on color negative film. All prints are hand made analog prints.
Time Out consist of pictures of rejected spaces. The structure of these buildings may still be sound, but the inside is considered “economically worn out”. The Russian interiors are from Karelia on the border from Russia and Finland. Some of these areas were a part of Finland between 1920-1945. For pictures from these series I received in New York the Lucie Award for the New Discovery 2004 and several other prizes. The images of the interiors are not ment to be a documentary of a certain way of life in a particular country. The work has been influenced by my own quest for the safe home, I never had. In all these interiors I depicted – how frugale the life may have been – I felt at the moment I entered the house warm and welcome. It is that immaterial wealth that I tried tocaptured in these images. The interiors in The Netherlands, were taken in a care home for the elderly in Amsterdam.
Unintentionally these series has turned into a history of Dutch home-decorating over the last 50 years. The China pictures were taken in different regions, almost all on the border with other
countries. I wanted to visit different cultures and culture doesnot stop at a line on the map. For a nearer description of my several trips and places, see my book Marrigje de Maar:
“Red Roses Yellow Rain” – Hatje Cantz 2011 The pictures in the portfolio Monasteries are from a trip through the Tibetan regions in the Chinese provinces of Yunnan and Sichuan. I concentrated on the non religious spaces in the monasteries or at times when no services were going on. Surprisingly I had very little trouble with Chinese officials during this trip.
Islands of Gansu, Gannan Tibetan Autonomous Prefecture , China and on the Zuidas – the new highly rated financial- and residential district of Amsterdam. The titel of this series refers to Martin Heidegger’s book “Der Ursprung des Kunstwerkes” (1936). In trying to describe what happens in a work of art, Heidegger makes the distiction beteen ‘earth’ – the materiality of the object or objects depicted and ‘world’ – that what happens in our brains as soon as we try to explain the work to ourselves. Both at the time when I studied social sciences and later as a student at art school, I ran into the problem of objectivity – more specifically the objectivity of the photographic image. What Heidegger explains for me is the impossibility of seeing objectively. There is an ever ongoing search and tension between that what a picture wants to convey (world – in this case temples) and our inability to capture precisely ‘that’. (earth). This inability holds true for all of us –