Craters

Technique: oil on wood, double-sided.
Exhibition available in several formats.

“Painting is a bit like learning mechanics: taking apart reality (or illusion), laying out the pieces in front of you, trying to understand how it works while scratching your head. Then, putting it all back together. Very often you make mistakes: you damage a piece or put it back together backwards… I try to make nice mistakes. After all, it's the breakdown that reveals the mechanism.”

“When I thought about enlarging the format, I wanted it to allow one to look at the image as if through a microscope or an astronomical telescope, something that would allow one to see beyond the surface. It was only then that I began to work in successive layers, and to think about the reason for these layers, and about the color of the support as well. The latter became alternately white or black, these two basic colors (or non-colors), all-light or all-darkness being for me two equally credible ways of representing the nothingness that precedes any image, and on which the image is built layer by layer, like colored veils that are superimposed.

My color superimpositions never stem from a learned pictorial technique, in the sense that a painter who has received academic instruction will paint a red background under a blue sky, because that makes the most beautiful skies. Rather, I try to use the layers of color, stacked in a certain order, to formulate hypotheses about the construction of the visible world.
Texts by Marie Freudenreich, "sculptor and dauber".