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“I, who is looking at the blue of the sky, am not an a-cosmic subject standing opposite of it; I don’t own it in my thinking, standing in front of it I do not unfold an idea of blue which reveals me it’s secret; I concede the blue, I set out for this mystery, it ”thinks itself in me”, I am this sky, which is arranging itself, repenting to itself, and starts to exist for ‘itself’; my consciousness has been swallowed up by this unlimited blue”.

Merleau Ponty, Phenomenology of perception

Marije Engelsman surveys the boundaries of her own perspective. Whichever way you look at it you are always stuck within your own perception.
The things we see are always influenced by al the impressions we have accumulated in our brain. We project our impressions into new images. We do not really look at things, we see what we think we are seeing, or remember to have seen. Marije is looking for the elasticity of this personal perspective.
She works with different media, like photography and video/film. Each medium has it’s own possibility to investigate perception. Video clarifies the perception of motion, photography decontextualizes due to the cadre.
She usually makes installations out of her pictures or films. In the installation she adjusts the work to the site, so you can completely undergo the experience.”

 

The subject of Marije Engelsman’s work emanates from her direct surroundings, in which both technique as well as content is important factors to her choice of viewpoint. In her work she investigates the instability of space and time, you never know when or where the picture is taken, or how.
Most of the landscapes have a timeless aura around them. The images are motionless but still moving. It’s a sort of still photography of rural landscapes. Different layers get on top of each other, so in the end it’s the viewer who decides what to see.
Marije frequently works with rejected cameras like the agfa click camera, or a self-made 6x6 or 4”x5” pinhole camera, the results are partially left to chance.
These pictures discard their true nature, due to their artificial, fairy-tale like appearance as well as their intense colours and uncommonly square size of a landscape. They are almost picturesque, like an abstract, sublime landscape.