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issue 38 - June/July 2017
CURVE magazine cover June/July 2017
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CONCRETE HEAVEN

Cities, Spaces, Life and Us : Living Amid the Urban Jungle

Marianne Markvad is a Danish artist based in Aarhus. Working from a studio in her garden, Markvad's work explores urban spaces and human activity within them. Creating collages full of meaning, Markvad's pieces questions the way in which we live and work in the midst of our urban homes. Three dimensional collages, video projections and installations all create new angles, new ideas about urban life, resulting in a collection that speaks to everyone.

How would you define yourself as an artist?
I am a workaholic. My leisure and work is one big mix. My work is my hobby and I always look forward to going back to my studio after vacations. I like to challenge myself to always make new things and rethink my work.

What was the first piece you designed tell us about it.
My mother was a florist and a teacher, but was also doing all sorts of creative stuff, mostly in soft fabrics. It was a very free spirited place to grow up and it was always possible to join in on all the projects going on. I was particularly fond of clay, and as a young child I made a lot of reliefs. My first sold picture goes back to 2000. My husband and I had just renovated a house, and we needed something to put on the walls. I began to paint a large abstract picture, though I had not painted for several years. When my neighbor came by she bought the painting right away, and her sister and three friends called me, and wanted me to paint some for them too.

Take us through the process of your work
Half of my working hours I'm combining photos in Photoshop. I use photos I have taken in approximately 25 different cities all over the world. I am mixing, cutting, coloring and scaling until I reach the meaning and the esthetic look that I'm going for. Next step is printing the pictures, gluing them on wood and building the picture in 3D in order to highlight some part of the picture. Sometimes I add old used wood in the work. It adds history, which is good for the piece and good inspiration for me as an artist. Sometimes I add extra colors. Often I paint the sides of the work so that the balsa wood is less obvious. I finish up processing some layers of transparent paint to make it resistant to light and moisture.

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