For the duo exhibition in Galerie de Molen, it seemed nice to show the development of my drawings, from the start of my ‘Reflections on Jane Morris’ project.
Ten years ago I made a series of pencil drawings of Jane Morris’ hairstyles. This series was the starting point for my recent series of drawings in which the muse gradually disappears from the image and leaves room for other, new stories.
Recently I started making photographic etchings from these series. With printing in different colours, I investigate the influence of colour, contrast and tone on the experience of my original drawings in grayscale.
Pulchri magazine published an article about the ‘van Ommeren de Voogt Prize 2018′. Klaske Havik wrote the piece about my work.
Winner Paul Nassenstein, Sandra Thie and myself are awarded with an exhibtion at the van Hardenbergzaal in Pulchri. I am showing a new series of 14 pencil drawings, inspired by Jane Morris’ hair.
The exhibition will be opened by Anna de Voogt, 13 January 2019, 17.00 in the Hardenbergzaal. It wil run till 3 February.
On 20 January there will be an artist talk, from 15.00 till 16.00 at the van Hardenbergzaal in Pulchri.
The book ‘Geen woorden maar beelden, 25 jaar Galerie Atelier Herenplaats, Outsider Art in Nederland’ is also available in English. In almost 300 pages filled with wonderful images and texts, it describes the journey of Herenplaats. It is an art academy for mentally and physically challengend artists, where I enjoy teaching linocutting and etching.
The bookpresentation was held on 29 June 2017 at the Kunsthal in Rotterdam. Watch the crowdfunding clip for more details or visit the studios and exhibitions at Galerie Atelier Herenplaats. Schietbaanstraat 1, 3014 ZT Rotterdam.
On top of a black and white photo of Jane Morris I superimposed a colour portrait of me, taken by Liselotte Fleur for the editorial about my work in Lone Wolf magazine.
Commemorating Jane Morris’ birthday as she was born on 19 October 1839, I posted this collage on my (recently started) Instagram and Facebook accounts. Doublechecking the date I suddenly realised there was another photograph of Jane Morris from the same series.
I might have always overlooked the image on the left as I was so smitten by the image in which Jane sits upright, full of self confience. Don’t you agree how this slight tilt of the head so drastically influences the way we perceive Jane?
I am proud to announce that Lone Wolf magazine, features an interview with me in their latest issue #12; ‘Philosopher and Muse’. The editorial ‘The Silent Muse’ is written by Natalia Borecka and photographed by Liselotte Fleur.
‘…Suddenly, a strange new prospect presented itself. Here was an opportunity to give someone pushed aside by history, the voice she so deserved. Here was a chance to give Jane her moment in the spotlight, not as a muse, but as a flesh and blood woman. And so, Margje set out out to turn a fading myth into a breathing story, using herself as Jane’s surrogate…’
Photographs from my series ‘A Memory Palace of Her Own’ are exhibited at the William Morris Gallery from 11 January to 9 March 2014. The private view was held on 9 January and included a Q&A with the author Kirsty Walker who wrote this review.
Excerpt from an email I received from the curator of the William Morris Gallery, Carien Kremer: ‘We would like to offer you a slot in our 2014 programme, showing the photographs in the Discovery Lounge…It would be great to mark the commemorative year with a contemporary take on Jane’.
What are you proposing to display?
A series of four self-portraits. I visited several of Rossetti, Jane and William Morris’ former homes and took staged photos on location with the photographer Hein van Liempd. Referring to Jane Morris’ life story I transformed her world into my own, adopting contemporary clothing and poses.
How is your work relevant to the William Morris Gallery?
The William Morris Gallery is one of William Morris’ two former homes included in my series ‘A Memory Palace of Her Own’. The other, Red House, was designed exclusively by William Morris and Philip Webb, who collaborated in the design of the ‘Green Dining Room’ which is also shown in my series.
Are there parallels with the collection?
I took photos at Rossetti’s studio, as this is the location of the famous photo series of Jane Morris which was the incentive for my own project. In the archives of the William Morris Gallery I have studied the reproductions of this series. There, I also enjoyed the privilege of reading Jane’s letters. I have incorporated her handwriting in my photo of the Red House.
Why is it of interest to our visitors?
In the course of my trips to London and Oxford I have seen many inspiring works of art and artefacts from various museums, archives and from one depot. In my work, I often refer to these objects or quote from the many works on the Pre-Raphaelites. As an artist, it is my hope that my personal viewpoint will supplement the existing works of art and artefacts in the William Morris Gallery to contribute to Jane and William Morris and Rossetti’s cultural heritage.