Seeing his paintings is like watching a great storm happening right in front of you. I think you can also see in the work that he is battling with all sorts of things, there is a huge amount of friction and conflict within each painting. He writes in his letters how overwhelmed he is with emotion you simply feel what love he felt when you are looking at his paintings. He spent hours going on endless walks, he therefore spent a lot of time with the subjects he painted. Vincent van Gogh had a strong connection and empathy for nature, he was a man of faith but actually ended up worshipping nature. He understood this as a creator, he reminds the viewer constantly that we as humans are capable of going in two directions, we are capable of doing good or bad as humans, it is of course very biblical.
He portrays ideologies and images that are both incredibly powerful and very dangerous at the same time. I also feel very influenced by Hieronymus Bosh. Marianne North is just wondrous she explored the whole world and recorded it at a time where it was not only unusual for a woman but the places she went to were also in the wilderness and not without risk of catching diseases or being eaten. Rachel Ruysch was the daughter of a botanist and scientist, and she had an extensive knowledge and developed incredible techniques and was even higher prized then Rembrandt in the day. I also admire botanical artists such as Giovanna Garzoni, Marianne North, Georgia O’Keeffe and Rachel Ruysch. I practise and study the Dutch Masters techniques from the 18th century to understand their world view and techniques. I observe and study art from the Egyptian era to the early 19th century Japonism movement and everywhere where nature is portrayed, in medicine and biblical representations. Who I feel I belong aside to I find almost impossible to answer. Where do you fit in, who do you think you belong alongside? I feel connected to so many artists from different ages and art movements. And I also hope we can allow nature more space to exist in our cities. I hope we learn more about our nature, to get to understand it better. Species have to work incredibly hard to survive, it is a constant battle. We have not been protecting our environments enough. We all need to make efforts and sacrifices. At the moment it is more evident than ever before that species are becoming extinct. W hat are the current things going on that are inspiring you? I currently follow what efforts are being made to protect nature by governments, institutions and individuals, I find this really inspiring. I intentionally use this direct painting technique as it allows me to record time and motion. The paintings are painted in impasto technique, this means that my hand and my intention are very present. The Botanicus collection is painted in oil paint and the collection reflects a diverse spectrum of techniques from different ages. The artworks also have a dreamlike otherworldliness and appear surreal, showing vulnerability and fragility. When I paint a plant, I think of making a portrait of a plant like a person, with a soul, and a history, and emotions, and desires. How would you describe your work to someone who has never seen it? I would describe my botanical paintings as paintings where the plant is my inspiration and muse. We caught up with her and asked her a few questions about how, why, when and where she does what she does. The Artspace Artist Direct artist's paintings have been exhibited in Amsterdam, New York, London, and Italy and have been featured in newspapers and magazines around the world including the New York Times, Vogue Living NL, Saatchi Art Catalogue and BOOOOOOM!. Marianne graduated with a BA in Architecture & Spatial Design with Honors at Central St.
There is a constant switching between the two dimensional and the three-dimensional representation within the paintings. Georgia O’Keeffe, Hieronymus Bosh, Frida Kahlo, and Vincent van Gogh are big inspirations on her work. The compositions and geometric shapes show structures and rhythm and appear to have grown within the canvas. Her botanical paintings are intended to be instantly recognisable yet have a naive appearance. Marianne Hendriks shares her wonderment of nature in a painting practice informed by her background in architecture and design. With each distillation of a leaf into a simple abstraction, the Netherlands-based artist attempts to make sense of the world by categorically manipulating geometry and form.
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