The Exploration of Legacy and Ideas | Marianne Nix

Posted in In the Studio by Bethan Street on 23rd July 2019

Legacy and exchange of ideas feature in Marianne Nix's work. The beauty of nature that we find both near and far and the changes happening to it over time. Combining photography, digital tools, traditional printmaking and oil paint glazes and impasto, Nix mixes it up in her paintings and prints which are built up in layers by adding and removing.

 

Nix studied fashion design, and digital media at MA level and worked as a Documentary film director. She was brought up in the UK and Netherlands and spent three years in Japan and has traveled widely. Focussing entirely on her art since 2003 she is now working from her London studio producing layered and multimedia works that have sold internationally. Discover more about Marianne below.

 

The various coloured jungle vi by Marianne Nix, 2018

 

1. When did you realise you wanted to become an artist?

I come from a family of creative people. I have artists on the dutch side of my family going back to the 19th century. My dutch aunt is an artist and I would stay with her as a child in her farmhouse/studio and be shown how to make things. I started to win prizes when at primary school and was encouraged by teachers. I spent a week in an artist’s studio having my portrait painted when I was 11 and decided that an artist’s life was for me. I love the smell of artist materials and the stillness of working intensely on creating something new.

 

Blue skies dreaming by Marianne Nix, 2018

 

2. What inspires your art?

My work explores legacy and ideas; the thought that often successful innovations are the ones which take ideas and find new ways to add to them. Innovation can come from using new tools or combining old ideas or tools with new. It is for this reason that I look at some of the great minds of the past and the exchange of their ideas and explore the use of old and new art-making tools.

 

The Blaze of Rhododendron Kenwood House by Marianne Nix, 2016

 

3. Ideas of legacy & exchange feature in your work, can you explain this a little more to us?

The combining of physical, analogue and digital media interests me and reflects physically the ideas behind my work. I use the internet, photography, scanner and digital tools, and combine them using traditional techniques such as photograms, cyanotype, etching, aquatint, printmaking and traditional oil glazes on paper and canvas. My work explores the transition from ideas to pixels and then physical materials, and potentially back to digital. 

 

The Viaduct, Hampstead Heath III by Marianne Nix, 2015

 

4. Can you tell us about your process? 

I started printmaking by using old techniques such as etching and aquatint. Part of the process of etching is to create an image in acid-resisting oil. This can be done in a number of ways including using a photocopy to transfer an image in oil-based ink onto the metal plate. I could see that this technique could be applied to oil painting. 

 

The Viaduct IV by Marianne Nix, 2016

 

5. You work with both old & new techniques, how did you develop this unique technique? 

Traditionally there are several ways of taking a small sketch and transferring it to a larger wall or canvas before painting. This can be done by drawing a grid and painstakingly copying the drawing into each enlarged square of the grid. Some artists use a photographic projector to see the small image on a larger canvas and draw the enlarged image with a pencil or paint. With frescos or murals, the drawing can be transferred using pinpricks through the paper. I could see that the photocopy method I used for my etching could be used to transfer to oil paintings and be much quicker and create a unique texture to work on. I have developed this method over time; sanding and layering and painting in oil glazes over the top. In this way I can use photographs I have manipulated with digital tools on my computer and convert them to traditional materials and bring them into the physical world. I am melding the old with the new.

 

I am interested in the transition from handwritten to digital and am considering whether at some point we will no longer know how to write. Handwriting gives a clue to the personality of the writer and can be a line or drawing of the soul.

 

Fishermen since 1777, The Vale of Health, London by Marianne Nix, 2016

 

6. What are your ambitions for 2019?

I will be exhibiting with the artist-led i-contemporary gallery at The Affordable Art Fair Battersea 17-20th October and am building a body of work for that. I recently finished a two-panel commission based on an existing work that was already sold. The new piece was much bigger and it was an exciting challenge to work closely with an architect, art advisor and collector to make sure everyone was happy with the work. I hope to work on more projects like this in the near future. I have an exciting and poetic commission to work on from November so 2019 is looking pretty full!

 

Discover Marianne's work

6 Of The World’s Weirdest Museums

Posted in Inside Scoop by Ruth Millington on 09th July 2019

Most of us will have holiday memories that include visiting a museum. The Louvre in Paris, London’s British Museum or New York’s Met, maybe. But have you ever been to a unique and unexpected museum during your trip away? Featuring vampires, fake art and frogs, here are 6 of the world’s weirdest museums.

 

 

1.     Miniatur Wunderland, Hamburg

Miniatur Wunderland is the world's largest model railway, with its own miniature airport. There are over 1,300 trains which travel between cities and take scenic routes, from the Swiss Alps to Norway’s Fjords. Twin brothers Frederick and Gerrit Braun started creating Miniatur Wunderland in 2000 and, so far, it's cost a staggering £8 million!

 

Funfair at Miniatur Wunderland (Wikipedia Commons)

 

2.     Frida Kahlo Museum, Baden Baden

Baden-Baden is a beautiful spa town in Germany’s Black Forest. It’s also home to the Frida Kahlo Museum. A shrine to the Surrealist painter from Mexico, it’s appropriately surreal. It houses 100 masterfully hand-painted copies - by anonymous Chinese artists - of the artist’s most famous works. Faux-Frida, yes. But brilliant too.

 

Frida Kahlo fakes fill the walls at this museum in Baden Baden

 

3.     Musée des Vampires, Paris

Forget the Louvre. If you’re in Paris, you need to experience the Musée des Vampires. Jacques Sirgent, writer and self-proclaimed “vampirologist” has opened his personal collection of vampire paraphernalia to the public. Expect vampire films posters, masks and an anti-vampire protection kit from the 19th century!

 

Meet Jacques Sirgent, the man with a Vampire Museum in Paris!

 

4.     Coffin Works, Birmingham

Birmingham’s Coffin Works is a unique museum about, you guessed it, coffin making. Shelves and workbenches are full of original stock and tools of the trade. The museum offers tours, telling stories about the firm’s history of making coffin furniture for the famous, including Churchill, Chamberlain and even the Queen Mother.

 

Coffin Works is an award-winning museum of funeral fittings

 

5.     Tomato Museum, Santorini

Ever wondered exactly how tomato paste is made? Then, get yourself to the Tomato Industrial Museum in Santorini and take a look inside this old factory. Also an arts centre, it hosts exhibitions, events and films (not exclusively tomato themed).

 

Take yourself to the Tomato Museum in Santorini. Image 

@hughmcjames

 

6.     Froggyland, Split

Over 500 stuffed frogs fill Froggyland in Split, Croatia. You’ll find the frogs exhibited in everyday human scenes, from learning at school desks to shopping and playing music. The museum website welcomes you with the noisy ribbiting of frogs!

 

500 frogs fill Froggyland in Split

 

 

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Ruth Millington is an arts and culture blogger, freelance writer and art historian.

The Communicative Songs of Persi Darukhanawala

Posted in In the Studio by Phin Jennings on 02nd July 2019

“My art communicates – mostly in ways I can’t forecast or fathom. It is psychological – and it is no longer ‘mine’ once it begins to dry.”

Having read this of Persi Darukhanawala’s perception of his authority (or lack thereof) over the meaning of his paintings in his Artist Statement, I had an idea of his attitude towards letting them out into the world before we met. This idea was reinforced when I read an interview between himself and Philosophy professor Raphael Woolf. Here, he explained that “you can take them or leave them. And if you decide to leave them then that’s a valid response too.”

 

 

When we did meet in his Lambeth studio, to the music of The Jam, Madness, ABBA and other canonical pop artists (he later admitted that he has in the past tried to paint without music but it simply didn’t work), he explained his laissez-faire approach to how his work is received: “at the end of the day”, he explained, “it’s very much a communication and not a didactic form.”

 

But I'm Different Now (white) by Persi Darukhanawala, 2015

 

For Persi, to legitimise and create space for subjective reactions is to enable genuine communication. He doesn’t view his work as a privilege of the intellectual elite, a closed off and self-contained object of appreciation only for those who truly understand it. Instead, it is a way of starting a conversation; a channel for communication between himself and the viewer. Instead of the object (the artwork itself) his practice is focused on this very personal line of communication with individuals that it is capable of opening. Art is, as he puts it, “a way of saying hello” – the work comes second to the exchange he hopes it will spark in the subjective reaction of the individual viewer.

 

The flames of Andy Warhol by Persi Darukhanawala, 2018

 

He classes his artworks as songs, something that he is the first to admit could be seen as the language of the exact opaque artistic paradigm that he is rejecting. However, he understands it as a product of his indifference to the object, making the artwork accessible by focusing instead on the exchange with the viewer it facilitates. Whether an artwork, a song or something else entirely, he explains that “the object is, in certain ways, less crucial than the communication, because that’s what we take away with us.” 

 

The things that they say don't mean nothing any more by Persi Darukhanawala, 2018

 

In this respect, his focus on the reaction over the object is a way of questioning the prevalent narrative about the importance of boundaries between artworks, songs and indeed anything else that could become a medium for communication between its creator and viewer. This questioning and disruption of the dominant narratives stands at the heart of Darukhanawala’s artistic practice.

 

But I'm Different Now (black) by Persi Darukhanawala, 2015

 

“I’m very aware of the fact that accepted norms and narratives are just that: they’re not necessarily anything to do with the truth, whatever that is."

This questioning of narratives is another key theme that Darukhanawala grapples with. In his own words, his work “affords a potential for communication in a world where we’re absolutely battered by repetitive messages from the media, from everyday life”. 

 

Fire and rain: let it burn by Persi Darukhanawala, 2019

 

The artist expands on this with a reference to a scene in François Truffaut’s 1981 film “La Femme d’à côté”. Fanny Ardant’s character, resting in bed after a nervous breakdown, asks for her radio’s batteries to be replaced so she can turn it on and find out what’s going on in the world. When her lover expresses relief that she is finally getting better because she wants to know what’s going on in the news, she responds by saying that when she wants to know what’s really going on in the world she listens to songs, not the news and media.

 

You need the strength to go and get what you want by Persi Darukhanawala, 2015

 

The communication in the space between Darukhanawala and the viewer/experiencer is his means of escaping and helping us to escape, everyday dominant narratives and myths initiated and perpetuated by ruling power structures. Darukhanawala encourages his viewer to find their own individual lines of communication with his art, valuing their own inner self and being, away from these oppressive narratives: “If we get through for two minutes only,” he explains, quoting Paul Weller, “it will be a start.”

 

Too small to take a fall by Persi Darukhanawala, 2015

 

“It’s about protecting something in a world where - and in a lot of my works - there’s a square or a circle where the lines come in and the centre is under siege.”

The centre being under siege is a recurrent theme in Darukhanawala’s “songs”, His works leave the studio in perfect conservation condition. It is hardly coincidental that conservation, preservation and “some sense of existential continuance” are central to the ethos of his artistic processes. 

 

Happens all the time by Persi Darukhanawala, 2016

 

He works almost exclusively in acrylic on paper, an unforgiving combination, as he recognises in his Artist Statement: “no erasing, no concealment, no second chances.” With these options ruled out, he has no choice but to be completely candid, completely himself in his paintings. As such, they are moments in his life, moments of complete honesty and reflections of himself. This in itself seems like a strong enough argument for their conservation and protection in a world where, he this time quotes Grandmaster Flash, “it’s like a jungle sometimes.”

 

It's gonna happen… by Persi Darukhanawala, 2016

 

He is keen to make one fine distinction on this front: the need for conservation doesn’t stem from the importance of his, the artist’s, life. We know this isn’t his style; after all, he rejects the “Romantic figurehead” of the impenetrable artist whose work is to be marveled at or worshipped. It should be no surprise that the reason why these moments must be protected are not because they are his, they belong to everyone who chooses to look, listen and explore their own selves through his work. His paintings, the objects that facilitate the lines of communication between the moment in his life and the viewer, are fragile and if we take one thing away from enquiring into the ideas behind Persi Darukhanawala’s art, it should be that it communicates.

 

Browse Persi's work

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