Trinity
30 x 40 cm
1994
“Dilemma. Did I have to say now that I, actually, didn’t like her new paintings at all?
For some reason I did not.
“I can’t guarantee you anything, but I will give it a try.”
That’s what I said.
And so I found myself a little later standing in front of the paintings I only shortly before had still silently being avoiding. And there I discovered that those paintings had already taken in a place in my mind from which they now fascinated me much more than they repelled me.
Within a few days I came up with titles for all of these paintings, except one. And with every title that had, instinctively, presented itself to me, my fascination for Marianne’s abstract paintings had grown. But moreover, when I showed my titles to Marianne, they were, in her eyes, one by one so ‘spot on’ that I saw how she got moved for the first time in twenty years by something concerning her art.
And however we have spoken a lot afterwards – an incredible lot, if you consider that we had never spoken about her work -, we both were, in fact, struck dumb by what had happened.
For the first time there was someone outside Marianne who, obviously, was able to feel in depth what Marianne could only paint. Her inane titles proved it.”
From the chapter 1993: wonder year 4,
from the book Meta-art
by Mick van Schooneveld
