Send e-mail ARTISTS STATEMENT 'Water on Edge 2008-2017Sometime I have to wait for hours or days, even months for the moment when the landscape animates and the riverbanks ‘look back’. It takes time to learn how to read the waters of the Allier, taste the wind, sense the right temperature for a brief spell, during different seasons, that overflooding, treetrunks, grassroots, wind, sunshine, bits of debris, and shadows combine and reveal complex possibilites.
Modern humans are conditioned to regard the landscape horizontally. Indeed the construction of the landscape genre and a Modern way of seeing via 17 century Dutch painting dictates a geometry of discrete, horizontal planes of heavens and earth. We are so conditioned to imagine with this perspective that even when we lie down, our brains turn an image so it fits a horizon.
Water On Edge is part of a process of learning how to look and experience a world awry. In the several seasons spent filming river banks of the Haute Loire, I have immersed myself in these in-between zones, filming from a vertiginous 45 degrees. Seen from this angle, the once so separate planes of sky, earth and water intermingle in interdependent, metamorphic and magical ecologies of worlding and becoming.
looking awry I encounter new beings. And in what you might call an “animistic” way of thinking, these beings are now my “neighbours”, inhabiting the last remaining wild riverine ecologies where I live along the river Allier in Auvergne in France
Resident humans are attempting to clean up, prune and spruce these messy riversides for the safety of tourists and so forth. But luckily some of these border contact zones are still out of reach of communal gardeners … at least for the moment
It is in these contact zones between roots, trunks, rock, water, sky and earth (and sometimes random trash) that ephemeral ecologies evolve. And it is these ecologies that I am trying to celebrate. But however I might, in the manner of the natural historian try to fix an image of these zones, however I might try to capture these visions or create a “collection”, I never really can. They are always too fluid, always in a process of metamorphosis. Similarly, however one might want to interpret, decode or psychoanalyse, these “beings”, they are always in movement; always just one part of a vivid transformation..
This “riverside cinema”; this all-at-once rooted, rocky, aerial, fluid and ultimately undefinable ecology of elements and moving images for me is truly precious.
As Dutch citizens, our modern ways of seeing are conditioned by a life in a country carved out of wild riverland by the building of dikes. The rivers in Holland have become “water highways” The edges are hard. The possibilities for life forms are limited and catalogued. Today humans are trying to reverse this ecological impoverishment by anchoring dead tree trunks in the rivers in the hopes that they will draw back a biodiversity and an attendant complexity of imagination and story.
All photographs displayed on this site have not been manipulated
Prints are available in limited editions on AluSilk® or Cprints on FineArt Hahnemühle paper on dibond.
A Diptych from the 'Water on Edge' (photoseries I) was exhibited in Museum de Fundatie in Zwolle in the Netherlands 25 May- 20th August 2017
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PREMIUM photographies LANGEAC La Montagne Publié le 19/06/2019 Catherine David
'Marloes der Kinderen présente, au public du Haut-Allier, ses images troublantes et envoûtantes, à l’Espace d’art et d’expositions de Pébrac, jusqu’au 31 juillet.
Pour sa 12 e saison estivale, « La pensée sauvage », association culturelle de Pébrac, propose de découvrir les œuvres photographiques de Marloes der Kinderen, jusqu'au 31 juillet, à l'Espace d'art, face au jardin de l'abbaye.
Après avoir exposé à Rotterdam et avant Paris, Marloes der Kinderen, habitante de Chanteuges depuis plus de 30 ans, également peintre et galeriste à Eindhoven, a souhaité présenter au public du Haut-Allier ses images troublantes et envoûtantes, un travail original et d'une grande profondeur.
Sans manipulation d'aucune sorte, les photographies de Marloes der Kinderen représentent des morceaux de nature saisis en bordure de l'Allier et de la Desges, dans des lieux non fréquentés et donc sauvages, tandis que le soleil jette ses tous derniers feux à l'horizon
Arbres, buissons, broussailles, rochers et plantes riveraines se mirent dans une eau de rivière apaisée, obscure, que l'on devine à peine. Alors reversée, orientée à la verticale, l'image, soudain kaléidoscopique, laisse apparaître de parfaites symétries. De ces formes jumelles, que l'or du crépuscule vient enluminer, naissent des visages de bêtes, des faces de dieux païens aux regards sans fond, des masques inquiétants, des créatures marines ou tribales, de petits êtres jouant dans les herbes hydrophytes…
« Ces images sont animistes »
À chacun de voir, dans la ripisylve devenue sacrée, ses propres apparitions. L'œil, désorienté, croit entrevoir quelque chose d'un autre monde. « Finalement ces images sont animistes, déclare la photographe, surprise elle-même par ce qu'elle donne à contempler.
Quand je découvre tout cela sur mon écran, je n'en reviens pas ! » C'est pourtant bien la nature qui est là, sous nos yeux à leur tour immergés. Une nature qui semble, ici, délivrer un message jusqu'alors crypté, invisible aux sens profanes.
Happé par le spectacle silencieux, tandis que tout semble flotter dans un espace indéfini. L'on comprend soudain que la nature nous parle et nous dévoile toute sa beauté dans un dernier adieu.
REVIEW 'Water on Edge' photoproject. Lucy Davis, March 2017
Marloes Der Kinderen has lived and worked in Chanteuges in the Auvergne for over twenty five years.
Like many areas of rural France, the region is struggling: from the effects of declining industry, agriculture, urban migration, unemployment aswell as most recently a markedly changing climate.
Thus-far, the knotted tree roots and grasses along the banks of the Allier, which runs below Chanteuges, have sheltered buzzing pockets of biodiversity from ever-more frequent floods. The same riverbank architecture filters pesticides that farmers not so long ago were encouraged to use in the fields.
Auvergne also hosts peoples who mind local methods of reading the landscape. In a neighbouring village an elderly man and his grandson are consulted if farmers lose hunting dogs or belongings in the forest or along the river. He has explained that this expertise came to him as a young child, where when crossing a field he could sense where there was water underneath— an experience that he says was like ants crawling up his legs.
The diptych Water on Edge (45°) comes out of this nature-culture context and consists of a series of durational and intimate exchanges with riverine ecologies. Disavowing natural-historic and landscape conventions, Der Kinderen takes seriously that familiar child’s game of turning one’s head or one’s camera on one side in order to enter metamorphic worlds of water and earth that slip too rapidly for Rorschachian interpretation.
An obsessive process of recording the same liminal sites, at the same 45 degree angle over several seasons and in all kinds of weather has resulted in an kinetic collection of photographs and short films. The series, much-like the process of their making, demand of the viewer a shifting, almost-shamanic entanglement with surface and depth, root-system and light that is both charged and precarious.
Lucy Davis is a visual artist, art writer, educator and founder of
The Migrant Ecologies Project www.migrantecologies.org. ;
Send e-mail REVIEW 'Water on Edge' photoproject Christoper Rathboon april 2017'A Reflection on Reflection'.
Normally at home in the area of painting, Marloes der Kinderen is now offering something new in the medium of photography, and indeed what one can only call high-tech imagery. For the present work is strange enough to make us ask ourselves what it is that we see in front of us. Each image in the current series elaborated from views of the conjunction of riverbank and water - in itself is a source of beauty- offers the unhurried eye the sort of magic we find in a work by Jackson Pollock,
Such photographic compositions lie open to infinite interpretation as long as one allows oneself to enter an inward space of tranquillity, as one would naturally do before reading a poem, or listening to a piece of music.
Thus in allowing one’s imagination to come up with suggestive figures, shapes and harmonic relations, an involuntary mental-aesthetic activity is initiated, which one comes to recognise as a form of sublime play in an area where no two interpretations will be identical. Just as the surface of flowing water throws up reflections, likewise the viewer of Der Kinderen’s compositions is moved to reflect upon the most various aspects of a highly complex whole: in each tableau of this remarkably creative series there is more than enough to hold one in place for some while. Once the open mind sets about making sense of what it perceives, one discovers that the sum of one’s reflections has much to tell as well about how one sees the natural world - and even sees one’s own self.
Within the comprehensive plan of the present tableaux (measuring 100x80 cm) an infinite number of mostly animal and human (but also even mechanical) forms emerges out of what began as a scene of wild nature made cunningly strange by the artist’s imaginative angle of vision. Whether one finds here the mummy of a samurai warrior, juxtaposed faces of a pair of children, a leonine head baring ferocious teeth, a grinning demon out of hell, or an irresistibly appealing shower of scarlet petals, one is in for ravishing unveilings of beauty the moment one gives oneself up to these remarkable creations. In the same way that the unconscious self fashions for us what we are able to see, we make of this opportunity what we can, and then too in a way it makes sense to say that what the artist has achieved is a visual counterpart to Finnegans Wake, on the riverbank.
Christopher Rathbone (scholar, author and critc).
REVIEW 'Water on Edge' photoproject. Bert VerhoeffOne of the important things of great art is to provoke questions. Where is it? What is it? Is it something anyway? Maybe it’s better that we, the viewers, don’t get any answers. Let your imagination flow! Let it go and dream on!
Everyone will have his or her interpretation. Do we see human beings…animals…neanderthals…fantasy figures?
The photo’s – or maybe better the works of art – of Marloes deserve a nice and prestigious stage.
I am very curious which museum or gallery will be the first to recognise its qualities.