Marie Rosen


Oil on wood
20 x 20 cm
Purchase SPACE Liege
Acquisition: 2009
Location: Liege-SPACE

Marie Rosen's approach is essentially based on concerns related to the body, the family environment and home atmosphere, the memory and the temporality of these. It is about objects, facts of everyday life that are tied to the mental conception which everybody has made of his own body, according to a kind of search for "protection". The recurring objects of daily life in her painting are chosen for this reason, these are the ones that we know best. Talking about personal events, these images painted on wood fall somewhere in the narrative. They talk about fast events in time, though vague. Fervor, history, daily life. It is the reorganization of the memory that leads her to the creation of images. Current and imaginary parentheses of feeling, of little facts, little dreams, referring to the ex-voto, "my images come like prayers, vows". Without getting into the game of intellectualized art, her painting wants to be closer to a popular art, accessible to all, hence the correspondence with votive images. This reference should not be understood in a religious sense, but only from the aesthetic point of view. The search for the small size precious object, recalling the ancient illuminations and ex-voto, should be considered more like an enhancement of the act of painting, reviving in a way with the traditional handcrafts. From there, results her desire of a coherent project guided by the rigor and the seriousness of her personal approach. On the contrary, the narrative appears to be secondary: concentrated in a pregnant moment fixed in space and time, it represents the encounter of unusual and heterogeneous elements, which the content is already a part of it, on which they sometimes seem to float. The encounter carries a network of meaning, whether invented or real-life moments, modulation of known elements towards pictural scenes that are intellegible for all. These elements emerge depending on external parameters and sometimes change a little bit by themselves, until they acquire a sort of autonomy. The perception is immediate and does not require any explanations. In this sens, no interpretation is (in-)correct. Who are these characters, what are they doing? The loneliness that surround them seems to fix them in a context that appears to be narrative, a sort of para-world of projection, in a picture specific to the medium. Jennifer Beauloye


Lives and works in Brussels