As a painter, Marloes Roeper is intrigued by what exactly we see when we look at a painting. While taking many walks through the city, surfing the Internet, and by paying close attention to her daily environment, Roeper continues to find shapes, objects, and compositions that trigger her desire to paint them. This desire is not evoked by the particular beauty of these findings, but rather by her fascination for the way in which we recognise, or even attach meaning, to nothing but a few brushstrokes (or their absence) on the canvas.
Most of her works start from a photograph; here the composition, framing, and process of painting begins. Although all her paintings seem to show recognisable things, such as windowpanes, football fields, electricity poles, or other objects we think we know, Roeper has stripped them down to their bare essence. Her works, therefore, play with our notion of understanding what it is we see, and emerge from a challenge to achieve figuration with the most efficient means. As such, Roeper’s works question what we actually need to create an image, beyond frame, canvas, and paint.
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