On her website, Marije Gertenbach maintains a visual archive of images related to the theme that captivates her most: the mother in art. In addition to religious depictions, she also explores ethnographic and prehistoric imagery. Gertenbach (NL, 1990) is particularly intrigued by the evolution of depictions over time. When painting, she keeps these images in mind, but allows her intuition to guide her process.
The theme of her current exhibition, Hands, Hands, Head, Feet, resonates with Gertenbach's recurring focus: spaces. "Spaces tell myriad stories. They convey deeply personal or intimate narratives, as well as grand historical stories. Even existing spaces, such as murals in churches, hold profound significance." Since the birth of her first child in 2018, she has begun to intertwine the concept of spatiality with motherhood. Discovering she was pregnant with her third child while preparing for Hands, Hands, Head, Feet added an extra layer of significance. She comments, "It made the creation of this artwork feel incredibly natural and deeply personal."
Hands, Hands, Head, Feet will be on display at Galerie dudokdegroot in Amsterdam until 2 March.
How would you describe your studio?
My studio is located in Betondorp in Amsterdam East. It's spacious with lots of natural light, high ceilings, a loft area and additional storage space. The building houses around 20 artists.
Do you have any specific requirements for a studio space, such as natural light, storage or proximity to other artists?
Yes, it is very important to me to have an abundance of natural light, preferably from the north, although I’m just happy to have sunlight. I’m usually well able to see my work and can maintain a connection to the outside world. In the past, I’ve had studios where I knew many of the other artists who worked there, which is something I prefer. It fosters a sense of community, facilitates the borrowing of materials and allows for collaborative activities like critiquing each other's work or coordinating transportation. Unfortunately, I'm less acquainted with the other artists in my current studio complex and there's less activity. So, I often invite other artists to visit my studio.
What is a typical day in your studio? Do you have any rituals? Do you listen to music or prefer silence? Do visitors stop by?
I typically begin my day in the studio by making tea and turning on music. I often start by sketching or creating collages as a warm-up exercise. I prefer to work with instrumental music playing in the background. After about an hour, I transition to painting and I usually paint until I'm ready to leave.
Your artistic process involves a combination of intuition and research, as stated in your press release. How do you reconcile these seemingly contradictory approaches?
I conduct research on multiple levels: thematic and within my artistic practice. Thematic research involves reading books, visiting exhibitions, attending lectures and experiencing various forms of art in order to gain a comprehensive understanding. I then apply this knowledge intuitively to my work without preconceived notions. I strive to evoke imagery or emotions inspired by my research and my creative process unfolds spontaneously in response to these stimuli. I then analyse the emerging themes and visuals within my work to ensure that they align with my intended message and emotional resonance.
Your website features a visual diary, showcasing primarily prehistoric and ethnographic images. I noticed several depictions of fertility figures and mothers with children. Did these images influence your work in Hands, Hands, Head, Feet and if so, how?
Yes, I'm particularly drawn to depictions of mothers in art and fascinated by the various historical and cultural contexts in which they are portrayed. Some images are direct representations, while others convey more abstract and poetic interpretations. These images serve as source material for my ongoing exploration of motherhood and its representation in art. Each image contributes to a visual archive that informs my artistic practice and inspires the creation of new imagery.
One of the central themes of your exhibition is motherhood, specifically the concept of being a vessel or space for the unborn child during pregnancy. Why do you emphasise this aspect of spatiality?
The theme of space has always been integral to my work and serves as a constant source of inspiration. Spaces have the power to convey rich narratives, ranging from deeply personal and intimate stories to grand historical narratives. This fascination with space became more profound after the birth of my daughter in 2018, as I began to explore the concept of the maternal bond and the role of space in nurturing and protecting a child. This exploration has become a central focus of my artistic practice over the past year and a half. The fact that I was pregnant with my third child while creating the works for Hands, Hands, Head, Feet added an additional layer of significance, reinforcing the intimate connection between motherhood and space in my artistic exploration.
You are known for your preference to paint on jute. What draws you to this material as a surface for your artwork?
I initially began using jute during my studies due to its affordability and suitability for large-scale work. Since then, I have continued to exclusively paint on jute. I like the texture and resilience of the material, as well as its unique characteristics. Jute absorbs water differently than other surfaces, resulting in distinct interactions with the paint. This dynamic relationship between the material and paint adds depth and complexity to my work, fostering dialogue between the medium and the artistic process.
Early in your career, your work predominantly featured figurative elements, followed by a period of abstraction. Your current work also incorporates more figurative elements. Do you view these as two opposing poles between which you alternate or do you think you will ultimately settle into a particular style?
No, I like to transition between these two approaches. My creative direction is guided by what feels authentic and meaningful to me in the moment, with the material playing a pivotal role in shaping my artistic expression. I like to experiment with different materials and techniques and my visual language evolves in line with the different themes and concepts. While the prominence of figurative elements may vary in my work, I consider this flexibility to be integral to my artistic process, allowing for continual growth and exploration.
What projects are you currently working on?
I am currently focusing on my exhibition Hands, Hands, Head, Feet at Galerie dudokdegroot, which runs until 2 March. I am also continuing my studio practice and my partner and I are eagerly anticipating the arrival of our third child.;