With “Dunk” Marianne Vierø negotiates the
potential of subjective gestures against stylized
forms and predetermined detail as it plays out in
the relationship between the digitized brush
stroke and the physical brush. In this scenario the
digital stroke has freed the physical brush from
whatever constraints its functionality might have
imposed on its shape, so that it now lends itself to
reinterpretation. This position is inspired by the
digitalization of more and more tasks traditionally
anchored within the physical world. But rather
than looking at this development with nostalgia
Vierø draws parallels to language and accepts
the shift as inevitable. Much like a word’s
changing meaning over time.
To test the ties between the language of the digital stroke and that of the physical brush Vierø
presents the various element of the show as a nonsensical rebus. Using pictograms and symbols to
represent syllabic sound parts of a word, a rebus can be decoded through disregarding the concept
behind the pictograms, so as to only focus on the sounds of their defining names. Like with traditional
rebuses the various elements of the show subtract or add to the value of one another leaving the
original meaning nullified while another emerges from the sum of all. But as an added facet to the
game Vierø seems to question what the defining name would be in the first place.
A key element in this negotiation is a group of prints presented in custom made wood frames with
inlaid details on the side of the frame profile. Made in an analogue color darkroom, and build up from
multiple exposures on light sensitive paper, the prints combine projected Photoshop files of digitized
brush strokes with traditional photogram techniques where objects are placed directly on the image
surface. Whereas the color blending resulting from the multiple exposures closely mimic ink based
printing techniques such as silkscreen printing, the workflow of the analogue darkroom alongside the
digital brushstrokes shift the balance between material, method and form.
With the physical brushes Vierø proposes a group of absurd, idiosyncratic objects punctuated by
visual markers analogous to the silhouetted shapes represented on the prints. Made from wood,
natural fibers, twine, metals, plaster and acrylic glass the physical brushes configure somewhere
between functional tools and ceremonial representations. Heavily textured and almost crude they paint out the materiality of their own language against the backdrop of the intangible digitized strokes.
Marianne Vierø (Copenhagen, DK) has been a resident artist at Rijksakademie van Beeldende Kunsten in Amsterdam; Triangle Arts Association in NYC; and Künstlerhaus Bethanien in Berlin.
Recent solo exhibitions include “Coat Concave” at die Raum, Berlin (2017); “Glyph” at 427, Riga
(2015); and “Great Transformantion” at Ellen de Bruijne Projects, Amsterdam (2014). She has
participated in group shows at Future Gallery, Berlin; De Vleeshal, Middelburg; the Philadelphia
Museum of Art; and 1857, Oslo among others. In June Ellen de Bruijne Projects presented a solo of
Marianne Vierø’s work at LISTE Basel 2017.