A volcano on the verge of exploding. No matter what way, the Meta-paintings of Marianne Schuit always find themselves in a state of utmost tension. Sometimes this tension rises to even greater heights due to creative gestures which seem to have the purpose to push the Meta-painting right in the spectators face, so that there is no way for him whatsoever to escape it. Still, this rude vitality is always accompanied by a tremendous introversion which, surprisingly enough, makes us even more aware of the inescapable ‘lust for life’ of the Meta-paintings of this artist.

Nothing less than life’s energy itself is finding itself in the thin layer of paint in which the artist seems to have captured all the burning and itching qualities of it.

In Still life this ‘lust for life’ acts in a kind of Super Vagina Monologue, expressing this most vital part of the world in its all-natural qualities, as a centre of nature, a force field unstoppably spreading out its influences in the world.

In Who’s afraid of Marianne Schuit? we do not find any figurative element connected to its overwhelming vitality. We only sense a bizarre constellation of colours fitted into most simple forms. Here it seems life’s energy has no focus at all, despite the strict pictorial language. To emphasize the mysterious unity it still comes from, the whole of this Meta-painting ends up in an unlikely harmony, a grand, paradoxical calm, as if nothing contradictory has found a place in the Meta-painting, absolutely nothing.

Still life

Who’s afraid  of Marianne Schuit?


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