During the past decade my work has focused on exploring the juncture of art and science; a place where the fiction meets fact - and in the creation of invented hybrid form: ambiguous new versions or mutations of the “natural” that are both unpredictable and unsettling. Most recently, this interest has resulted in a series of delicate, cut-steel silhouettes inspired by the rich and varied life-forms found in the world’s oceans. In particular, it is our inherent distrust of the unknown and the mysterious and sensual nature of these forms that interests me and my goal has been to translate these interests in a compelling and original manner.
Twig Version #1 (blue), 2012
Twig Version #3 (yellow), 2012
Voronoi Revisted #1 , 2012
Cellula #2, 2012
Sprout (green), 2012
Fissure (yellow) & Fissure (blue), 2012
Dew Drop (version 2), 2012
Morph Stack #2, Version 2, 2005
Morph Stack #1, Version 2, 2005
Small Study (Droplets), 2011
Cellular Flower, 2010
Red Bud, 2010
Collage #1, 2007
Collage #2, 2007
Collage #3, 2007
These works draw from interests ranging from the organic structure of the human body on a cellular level to the graphic language of scientific structures and systems as well as a growing fascination with the ephemeral aspects of memory and perception. This recent investigation has led to the creation of a series of cut steel silhouettes with highly pigmented reverse sides that serve to reflect coloured light onto the adjacent wall bathing the work in a subtle glow or aura which hints at a latent energy or life force. The afterimage effect of this impression underscores a new desire to explore the sensual rather than empirical aspects of our surroundings – something experienced as opposed to something observed. The imagery employed, ranging from the microscopic (vascular systems) to the cataclysmic (atmospheric electricity) are related in both form and function as complex and active pathways or conduits.
Known for her evocative forms and meticulous attention to detail, Marianne Lovink creates work based on her interest in the organic structure of the human body on a cellular level. New materials used are welded steel (left raw to the eye) and plaster or ceramic for the modular forms. Using medical journals and microscopy image banks as source material, and employing simple materials and a spare palette, these works are three-dimensional re-interpretations of elemental structures.