Round and About

About

The philosopher Leibniz built his Baroque worldview on the ubiquitous bending and folding of the world: the folding of fabrics and clothing, folds of skin, the folds of mountain ranges, the wind in the sand, the waves of the sea, the folds in Baroque painting and sculpture, in architectural spaces, and in the fugue, which unfolds in endless variations (Anneke Oele in ‘serpentine’). All the inspiration for the work of Marlies Appel (1945, NL) can be found in this quote: the folds in the coat of Flemish painter Jan van Eyck, the waves of the sea, and the area where one side is ‘almost’ equal to the other, as in Hogarth’s Line of Beauty.

We see fluidity in the work of Florence Marceau-Lafleur (1988, FR), which also moves between art historical references and analogical thinking. She works from a sense of intimacy with a situation or a place. Because she worked as a model for a long time, the classical studios where nature is drawn have had a decisive influence on her development and imagination as an artist. It is a context in which the proportions and boundaries of the body are central. At the same time, the studio is a contemplative universe from the point of view of the model: the boundary between the body and the world disappears. This tension inspired her drawings, sculptures, texts, and stereoscopic photographs.

On Sunday, 2 March, at 4 pm, the exhibition will be opened with an explanation of ‘Round and About’ by Renée Borgonjen, followed by the presentation of the book ‘Serpentine’ by Marlies Appel by Anneke Oele.

The book Serpentine by Marlies Appel is published by Mart Warmerdam, 99 Uitgevers/Publishers.