Marieke Van Wuytswinkel

Marieke Van Wuytswinkel (1987) is an artist who works in a variety of media. With a conceptual approach, Van Wuytswinkel wants to amplify the astonishment of the spectator by creating compositions or settings that generate tranquil poetic images that leave traces and balances on the edge of recognition and alienation.

 Her artworks appears as dreamlike images in which fiction and reality meet, well-known tropes merge, meanings shift, past and present fuse. Time and memory always play a key role. By questioning the concept of movement, she finds that movement reveals an inherent awkwardness, a humour that echoes our own vulnerabilities. The artist also considers movement as a metaphor for the ever-seeking man who experiences a continuous loss.

Her works directly respond to the surrounding environment and uses everyday experiences from the artist as a starting point. Often these are framed instances that would go unnoticed in their original context. By applying a poetic and often metaphorical language, she tries to approach a wide scale of subjects in a multi-layered way, likes to involve the viewer in a way that is sometimes physical and believes in the idea of function following form in a work.

Her works isolate the movements of humans and/or objects. By doing so, new sequences are created which reveal an inseparable relationship between motion and sound.

The Other Side of the Mountain (2017)

For my new video-installation I am creating for the exhibition 'The Other Side of the Mountain' at Eva Steynen.Deviation(s) opening at septemer 24th I am developing 3D prints in collaboration with FabLab.iMal. 

The video-installation reflects the idea of an environment as a metaphor for the elusiveness of wandering thoughts, moments, memories and experiences. A landscape: “something intangible and within touching distance.”1

 The works in this exhibition immerse te spectator into the eye of a landscape architect who creates a scenery to enhance the sense of space by offering the wanderer compositions of colours, plants, hills, empty spaces, light and shadows, wideness and nearness. The landscape evolves into an environment in which one can lose oneself in its spatiality and temporality, a fragmentary space that blends the virtual and the real, in which time represents another dimension of space.

The attempt to compose a landscape out of a selection of colours, elements, places and moments, leads to the loss of the images’ content, the evaporating of moments and the blurring of colours and contours.

And we, spectators, always and everywhere,
turned toward the stuff of our lives, and never outward.
It all spills over us. We put it to order.
It falls apart. We order it again
and fall apart ourselves.2