Marielle Buitendijk
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In 2005 Mariëlle Buitendijk (1976) won the Royal price for painting. Because of the spraytechnique that Buitendijk uses the lines are out of focus. This in combination with shades of grey in black and white paint on an aluminum surface gives the paintings the character of photography. An important scource is the architecture of stadiums. That is based on power and the spectacle. The paintings hardly contain a spectacle but shows a serene silence. A moment in which it is not clear if it is before or after. Not reality but the registered reality printed and spread by the media is a point of departure. Remains of these media still show in the paintings. She uses effects like out of focus filmframes and fisheye to add a surreal character to the works...


interview 6-5-2010

S. What are you working on at the moment?
B. Now I’m mostly focussing on the architecture of stadiums of modern times, that are have the basic forms of the ancient stadiums. I’m fascinated by architecture because it places people in a certain rol. It is an enviroment of man, made by man.
Stadiums are related to power and spectacle. But my paintings hardly contain any spectacle; they show a serene silence. You don’t Know if it’s after being used for an event or it still has to begin. I want to create a tension by painting a moment in which it is not clear if it is after or before a spectacle.

S. Do you paint actual buildings or are you working from imagination?
B.. Recently I am using architectural models as starting point for my paintings. By actually building my subject I have more control over it. Building the models I can bend the shape in an early stage into for example a sphere or transferring the field into a stage. Furthermore I am able to shift the ligtht to focus on a special form or moment. Models of buildings appeale to me, because they do not actually exist as buildings.

S. Do you want to exhibite your models?
B. I don’t want to present the models as works of art. The idea of presenting my work as an object is not appealing to me. I want my work to be in between an object and aN illusion. My work has to be reflection of different times and places put together in a new reality.

S. Why do you mostly use black and white in your paintings?
B. THE image MUST be more like a filter than a representation of real colours. Black and white haVE a relation to a time; THEY refer to history.
I Also want to refer to historical photographic documents to relate the paintingS to different timelines.

S. Your materials are a bit unorthodox. Can you tell us why you use these materials?
B. Most of my paintings are on aluminium, because it has a totally flat surface, unlike canvas. I do not want the surface to interfere with the subtle spots and grains in the surface of the paint. I use spraycans and acrylic paints which I spray on the panel. The paint has a dusty, velvet-like surface that contributes to the painting as an object. But the images that are composed by the paint are illusions. The spraypaint give an out of focus, unclear line. The lines have to vibrate, as if several timelines are covering eachother.

S. In what way do you see the art of painting?
B. For me a painting is something in between a real object and an illusion. The small specks and grains of paint are present in my paintings but the image isn’t. Painting is not a mirror of reality. It is not like photography which represents a certain moment and a certain place in time. For me a painting is a movable object that carries an illusion with a relation to the history of painting.