Landscape, Signs, Colours

Laudatio zur Eröffnung der Ausstellung von Marianne Gielen am 22. April 2013 im Ministerium für Wirtschaft und Europaangelegenheiten in Potsdam

Laudatory speech at the opening of the exhibition of Marianne Gielen on April 22, 2013 in the Ministry of Economic and Europe Affairs in Potsdam.

The word landscape is associated with diverse ideas. Please test it yourself. You will found out what your internal pictures of landscapes mean from your feelings, your experiences and from being with people. Our pictures of landscapes and also our perception of landscapes must be as different as us humans. With Marianne Gielen it is no different.

We experience her creative personal perception of landscapes in this exhibition. For instance her interpretation of the glacial valley as a pre-historical shaped area has nothing to do with imagery. That is not what she intends. Her artistic motivation is derived from the question of how to interpret basic emotions for a landscape. Her interest is directed at the fields of force that determine space. Marianne tries to express herself by her interest in the life force that emits from a landscape.

How this enters the artistic expression, may follow its own influence. In her own way her artistic attitude shows influences of a non-figurative artistic development. It reminds one of the second half of the 20th century of concrete subjects of freed art that progressed from Western Europe and North America. Abstract expressionism, tachism and influences of art personalities like Jean Dubuffet, Walter Stöhrer or Per Kirkeby may have been inspiring. The characteristic metaphorical work of Marianne Gielen will be shown in this house for the next few weeks.

I would now like to introduce you to the artist who lives and works in Potsdam. In the 80s the studied lawyer from Alsace decided to give her life a different direction. She studied art at the HdK in Berlin and also later when the HdK became the UdK “Kunst im Kontext”. For years she has been engaged with the concern of artists in different committees and functions. To name a few are the BBK and the IGBK. Until recently she was Chairman of the Brandenburgischen Verbandes Bildender Künstlerinnen und Künstler for many years.

An important aspect to the approach of Marianne Gielens art is the fact that she is often under way. She received many scholarships and student trips in the last twenty years in the USA, Turkey, Scandinavian and Baltic countries, Spain, Mali, Japan, India, South Korea, China and lately in Russia, this time in the wide open expanses of Siberia.

The cultural tradition and art methods that she finds on her trips help her to be open and unbiased. She deals with the newly found impressions in many different picturesque works. Marianne Gielen chose canvas and works on paper for this exhibition from last summer.

It is not only a firework of colours in which the fields of force give voice and weight in green, blue, red, yellow and white that we encounter, but also the colours of Buddhism. An intuitive, expressive and multi-layered directness is decisive for the texture of her picturesque paintings. There are graphic logograms and abstract codifications as well as calligraphic inspired signs that I would like to bring to your attention.

Signs are a central theme of Marianne Gielens work. All people have a cultural necessity to set an example for all time. Everywhere in the world there are signs – ancient and modern. The dedicated artist takes these opportunities whenever she can. Signs are internal memories and mediums of human information. The meanings are varied. They also harbor knowledge that went missing over the past millennial. The division of the circles refer to the cultural known varied ritual meanings of the liturgical year.

For Marianne Gielen it is not a question of details. She recognizes signs as archetypal symbols or elementary spiritual script, with the knowledge that realization and experience are implemented. Signs are memories of human experiences and therefore testimonials of human history and the drawn signs or the hand-held signs are in their body mechanics an expression of spiritual and cultural psychological disposition. It seems as though the colour turbulence in her paintings are a sign of the fast moving nature and complexity of our time.

In the moving signs of the hand one feels the vital energy. Marianne Gielen focuses on this phenomena that is originally meant for the existential bonding of human beings to nature. These structures of now interests her as an evolutionary process. In the often chaotic world she feels the immersion of the past into the future and the way something can be reached through humans into the world. In the changeable perception to the senses of our existence in the artistic attitude of Marianne Gielen is the fleeting of all events like the concentration of energy.

Signs are impulses, spiritual and psychological, that gets sent out and can be transmitted. We receive and respond to them by either understanding them or not.

In any case, it is energy that communicates and gives us an inkling of the integration into the infinity of time and space. Marianne Gielen sees this as her purpose to be artistically involved.

Dr. Gerlinde Förster