In the intimate space of my studio I cherish the framed photocopy with the words ‘Previous life’ written on it. As predicted by the cup-bearer I recognised myself in the eyes of the anonymous woman. With this solo exhibition, exactly twenty years later, I wish to illustrate how this discovery has influenced my artistic endeavours.
Annemarie Jansen, Previous life, 2004
Felt-tip on inkjet copy of ‘Jane Morris leaning on an elbow’ by John Robert Parsons, 1865.
Original photo by Birmingham Museums Trust, licensed under CC0
Photo of Previous life by Margje Bijl c/o Pictoright 2022
After discovering Jane Morris’ name and life story I first focused on the physical similarities. What I saw as the biggest difference, her hair, became a topic in itself. Based on the works of art for which she posed in the 19th century I created the series ‘Hair as in’. With this I introduced the new direction in my work during a group exhibition in Amsterdam.
Margje Bijl, 2009
‘Hair in a shell’, ‘Hair looking down’ (private collection), ‘Hair leaning on an elbow’,
‘Hair reclining’, ‘Hair as an aphrodisiac’, ‘Hair as a goddess’
aquarellepencil, Chinees paper on canvas, 53 x 63 cm.
Photo Hein van Liempd
c/o Pictoright 2023
As an artist, I always enjoy learning new skills and coming back to previous concepts with a different perspective. As a result this first series stuck in my head for a few years until I committed to a sequel. This time I took the formal language of the hairstyles as a starting point and used different hardness pencils to create more spatiality and movement in the drawings on smooth paper. Landscapes emerged. Jane’s hair only functioned as a starting point.
One of these drawings led to participation in the group exhibition ‘Nominees Van Ommeren de Voogt Prize 2018’ and in the accompanying article ‘Herself’ Klaske Havik concluded with: ‘The muse gradually disappears from the picture and leaves room for other, new stories. New, but anchored in the search for the double, for the self, for the other. They invite you to look for the detail and what can be read in it.’
A few months later I started the ‘Fiber as in’ series. The structure of the paper had now become the most important source for determining the image. With a thin mechanical pencil I traced the shadows of the fibers on the Chinese paper. This led to the next step: creating my own paper. I created small waves in it which I further developed with pencil or ink. Doing so I gradually let go of the concept of the other and the waves of Janey’s hair changed into the waves of my youth, which I spent on board of a flat bottom in Friesland.
Margje Bijl, ‘Fiber as in March and June 2021’
Pencil on handmade paper, 11 x 19 cm.
c/o Pictoright 2023
Last summer I started the new series ‘Water as in’, out of the desire to be completely surrounded by water. A viscous, dark gray, glistening mass with overexposed highlights. The sea resembles liquid lead. This image has become the starting point for my material research including graphite powder and tiny glass plates. In this way I would like to show an authentic self-portrait, within the framework of my visual double biography.
Margje Bijl, ‘Water as in October 2023’
Pencil, ink, Chinese paper on canvas, 100 x 100 cm.
c/o Pictoright 2023
This article was written for Pulchri Magazine, published in December 2023.
‘Looking for Janey’
From February 24th up till March 19th 2024
Voorhoutgalerie, Pulchri
Lange Voorhout 15, the Hague, NL
