World Fine Art Professionals and their Key-Pieces, 213 - Marina Heuvelman

World Fine Art Professionals and their Key-Pieces, 213 – Marina Heuvelman
Marina Heuvelman’s studio is located in a large barracks area at the Willem Dreespark. There are many young artists from various disciplines. In the back are the visual artists, including Marina. When I visited her she had only been there two weeks. She has a generous space, about three meters high, which she shares with two colleagues.

Marina graduated from the Royal Academy of Art in The Hague (KABK) in June. And now she is completely in the artistic life. She has already had exhibitions (S/ash gallery Nest, Best of Graduates at Ron Mandos gallery), wants to hold presentations in her space and had an exhibition at the SBK in Amsterdam on the KNSM island.

Silicon Valley

Marina has a special background. She has two nationalities, Dutch and Japanese. Her mother is Japanese, her father Dutch. “My father did scientific work for Philips. When he was sent to Japan, he met my mother. After Japan, he went to California, Silicon Valley for Philips. The family went along. I was three then. I was in America until I was ten, then we returned to Eindhoven. I was brought up in three languages but had to learn Dutch again. “
In front of me is a large work of hers consisting of two canvasses hanging inwardly, flanked by a blue elongated triangle and a pink elongated rectangle on the right. She has been busy lately with color and form, and with how something comes across physically. Hence the large dimensions. “Is it heavy, is it transparent? I am investigating all the time. This is a temporary work. I’m moving things all the time. “

Colliding colors
In a booklet that she published when she graduated, full of color drawings, she elaborates on it. It is a small ‘manifesto’ with the title ‘Colliding colors extracted from conflict’. She writes:
“I believe everyone has their own expression of spirituality. This could be in the shape of religion, meditation, science or art. People have the desire to explore the unknown, to find or believe in something greater than themselves, to feel enlightened and or uplifted. I find this feeling when I finish a piece. In the studio I generate the ingredients. The moment the work is assembled it is free from me and becomes something elusive. The scale of the work for me is important for its physical symbolism. Something I have made with my physical reach becomes larger than me.
I have the desire to escape into imagination.”

In her head
She often has too much in her head, she says. “I am more visual than verbal. I am trilingual, but I am not good at any of the three languages. I get everything out intuitively. It is perceptual cognition, knowing through seeing. But if I think too much, the result is chaos. Then I have to reorder. That is my methodology.” She also mentions these two elements in her manifesto.

Two parts

One. Impulse, intuition, instinct.
Emotions drive the momentum.
One. Rationalization, order, structure.
Slowing down.
There is no hierarchy in who you are.
Thoughts and emotions are present and one’s awareness and ability to allow gives value.
The ability to let one’s instincts take over.
Implying we have ‘free will’ to do so.

Awareness and flow

Are those the two words I am looking for?
Enter a space
In that context she reads many books. She shows a few. ‘The man who mistook his wife for a hat’ by Oliver Sacks. “Our brains do crazy things. I play a lot with perceptions. A physical change can change the perception of the brain. I want to combine everything that I find fascinating. My dream is the UomoUniversale of Da Vinci. Music can also belong there. I always have music on when I work. That does something. Occasionally you pick up a nice lyrics, a few sentences, there is a lot of power in that. ”

Honesty
Then a book by Ed Atkins, ‘A Primer for Cadavers’. He is one of the most important English artists. I browse it. It is densely printed with poetic texts. “You can start anywhere, on any page.” See the YouTube video http://bit.ly/2UZwLxG. Marina also makes films and she keeps a diary in which she records her ideas.
And the book ‘Poor Economics’ by Abhijit Banerjee and Esther Duflo about living with less than a dollar a day. “It’s about environment, global warming and recycling. What is poverty? I give a lot. I mainly try to give honesty. “

Unstabletable
Does it have a key work, a work that shows a direction? She has. It is called ‘Reminiscence’ and consists of a metal elongated triangle on the left and a large black spot on the right. The triangle on the left consists of the former legs of the UnstableTable, see the hilarious video on her website, http://bit.ly/2Jbfy29. “The unsteadiness of that table is an important point. When Einstein discovered the principle of relativity, all previous theories were put at risk. Nothing was right anymore. That is not bad at all, I even like volatility. I had to catch that table. I have recorded those casual, fleeting moments. Making the work took a few hours, but months in terms of thinking about it. ”
Marina is determined to continue her art career. She’s strict with herself. “I play life in hard fashion. I make it difficult for myself. I have to give everything my way, I don’t want to compromise. Otherwise I am not convincing for myself. “

Reflection
Finally, a final philosophical reflection, also from her manifesto:
What are you looking for
Acknowledgement
For what?
– More introspection-
Why acknowledgement
For what
What purpose does it serve
Or does it serve a purpose?
What do you feel when you blame
-More introspection-
Failure, what does that mean to you
Why is it so important
What does it symbolize
Anger, why do you feel it
A circle
Why is it a circle
Only emotions are independent of “verbal” thoughts

Images:
1) Marina Heuvelman, 2) Reminiscence, 3) Miscommunication boxes, 4) studio, 5) drawing, 6) drawing, 7) ba – fa, 8) assembly 1, 9) two works, 10) Marina Heuvelman

http://marinaheuvelman.com/
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https://ifthenisnow.eu/nl/verhalen/de-wereld-van-de-haagse-kunstenaar-94-marina-heuvelman