Love the paint, part 2

Marjolijn de Wit - Untitled - 2007In my previous post, I wrote about the wonderful works of Dutch painter Aaron van Erp. In this one I want to bring your attention to another star on the rise of the Dutch artscene; Marjolijn de Wit. Even though van Erp and de Wit may not appear to have much in common on first sight, my believe is that they actually do. De Wits style seems to be a lot more realistic than the obviously comical style in which van Erp makes you laugh about tragedy and drama. But both artist possess that quality that makes you watch again, they both prevent the eye from wandering. And both painters rewards the viewer for giving their works a second look, revealing hidden meaning and making you see the bizarre scenes they have created.

Marjolijn de Wit - Untitled - 2007A thing shared by both painters is an apparent love for paint. The paint is not carefully, mechanically placed on the canvas, but it is ‘smeared on’, the paint is lushly welcomed on the canvas, creating lustful paintings. (if ‘lustful’ is not a word… it should be one…) It is quite bizarre to think that de Wit, while an artstudent, didn’t actually want to be a painter, but a sculptor. However, she has been discovered by the artworld (making my prediction that she’ll go far, a very safe one indeed) and next year she’ll have an artist in residency at the Dutch Rijksmuseum in Amsterdam.

Besides solely being a very gifted painter (as if that weren’t enough)Marjolijn de Wit - Untitled - 2007, de Wit is also a very conceptual artist, who just happens to work with paint. There are a lot of different suspected meanings in every work. Paintings that are somewhere in between a still lifes and landscapes. A regularly recurring ‘icon’ for example is a television. Could this be her way of commenting on the way people see reality nowadays? Through a television screen? Or how about the painting of an attic where we see discarded jerrycans and an apparently melting iceberg. What would the message be of this work? There is so much to see in her paintings that they make great subjectmatter for debate and philosophy and at the same time they are absolutely beautiful enough for a lot of people to be willing to do so.

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