Marieke about Marieke
The dualism of disagreeing and agreeing is always present and forms the centre/quadratic of Marieke Coppens' artistic point of view. This comes into shape in her work by mixing cause and result, form and content to be able to question unambiguity. But the most important influence in Marieke Coppens' artistic motor is the law of conservation of energy; what goes in must go out.
Marieke Coppens' work is divided in a triangle, in this triangle each point has its own specifications. Performances are predominantly used.
The three points of a multi-shaped triangle are:
1. Core-series; 2. Anti-works; 3. Text based work.
Autonomously from the Triangle a series Lost exists.
Only discarded images are re-photographed and reprinted.
The images are found in discarded and due to the internet useless encyclopaedias.
Lost started after most of my work unluckily disappeared due to a burglary in my studio.
The bodily elements and physical aspect play an important role. Past, present and future might cross each other on the turning point of time and space.
Marieke Coppens' current artistic research concerns the aesthetics of violence/power.
Creating and destroying are used both to amplify and deny each other.
The aesthetical angle is used to make a comment in a open way, and stress the ambiguity of power and violence instead of cutting it short.
In those works Marieke Coppens uses real horses to visualise the power (both hierarchical and physical), tenderness, mythical and pre-industrial layers in the work.
Hate, and self-hate are central issues.
All the anti-works Marieke Coppens hates beforehand, but this hate is the main reason to force herself to make those feminine or feministic works.
The aesthetics of the mass media are both form and subject.
3. Text-based work
Started from the need to make a film without making a film.
The works now have found a form in telling a story without telling a story.
In these works fictional facts and factual fiction are deeply interwoven.