Marliz Frencken - Studio visit #4: More extensive than Time

As with every adventure, I always need to figure out what to expect. But once I arrived at Marliz's place, there was this indescribable sensation when her husband, Hans, opened the door. As I went inside, I was overwhelmed and did not know what had been bestowed upon me. I hung my jacket and put my bag down, and Hans caught me staring a second too long at the piece hanging on the wall, when our eyes met. Inside, I first witnessed the bigger-than-life presence of Marliz: sitting in her leather chair, legs out over the armrest on her phone. "Take a seat, kid. I'm cursing at Ornis because there is something wrong with next week's Artissima". Despite being told to sit, I just couldn't. So, I curiously roamed like the infamous kid in the candy store. As Marliz was finished, she excitedly showed me the maquette for her upcoming "40-year oeuvre" exhibition at Kunsthalle St. Annen in Lübeck, which will open on the 19th of March next year.
We headed upstairs to the loft where Marliz's studio was situated. Besides a myriad of finished paintings, the room held ceramic sculptures, books, and a maquette for the booth at Artisimma, which her daughter assisted with, she pointed out proudly. I still need to comprehend what it was about Marliz that caused me to think of her ambiance as having a bigger-than-life presence. Her humble, sincere, yet audacious way of speaking alleviated my confidence. We were talking about her life, and it was such a genuine interview that I thought, "I have never felt this assured about asking questions that flew into my head as if an angel was shooting them at me." It felt as if I was the chosen one to talk to her in a documentary about her life, which, if it's going to happen, you already have your person right here.
As we sat down, I asked about her early life and what led to this oeuvre spanning 40 years. "I'm going to change the visual arts," she wrote in her diary at age 12. This utterly bizarre statement was followed by "I'm going to keep on painting, even if nothing ever happens, if nothing sells or gets exhibited," at age of 25. Since the birth of Marliz, her mother has spent most of the time on her sickbed. Marliz received her first oil painting set from her mother, which was a special occasion because nowhere in the small village could this be found. This instigated her love for the arts. Sadly, Marliz's mother passed away when Marliz was just 14.
During most of her teenage years, Marliz was an assistant to painter and stainless steel professional Louis Smeets (assistant to prominent stainless steel professional Joep Nicholas), where she learned a great deal about art practice.
After secondary school, Marliz was admitted to the Art Academy in Arnhem (currently ArtEZ Arnhem). However, she still had a resit economy. After six weeks at the academy, she failed the resit and had to leave. Then, her dad concocted with the school director that Marliz would study fashion, changing the trajectory of her life. In the evenings, Marliz would paint at an artist's studio. She could do anything, a jack-of-all-trades at a young age already. She was unstoppable.
Marliz's fine-grained drawing technique was born during her fashion course. After graduating with honours from Lidewij Edelkoort, she went on to work in the fashion industry. But at age 26, she reminded herself that this was never meant to be. She went to her dad and told him she quit her job to be a full-time painter.
As her mother, Marliz's dad was very supportive. When Marliz was older, her dad had a brain infarct. During her visits to her dad, he always said a couple of sentences. While Marliz had just moved to the forest, her dad said, "Marliz, you should move to nature," without Marliz ever telling him about it. "Bury your paintings, Marliz," he told her another time. To this day, Marliz doesn't know the exact meaning, but she encoded it as the patience he had for her career. Like a seed, you must cultivate and frequently nourish it before it blooms. "All good things take time," he said.
A selection of the paintings and sculptures in the studio will be presented in Artissima's "Back to the Future" section. Marliz had been working in this style earlier in her career but revisited it almost two years ago. Dominated by the graceful, delicate style, this body of work portrays the immediate environment of Marliz with her daughter or friends of her daughter as a model. Describing the overarching theme as "the goodness of life." It captures paintings that have never been painted. Accomplished by loose brushstrokes and accompanied by an all-comprehensive gush through the images, it is as the younger Marliz looks at all that she has achieved now, which is best seen as a spirit in the pink artwork. Perhaps the unpainted paintings allude to something incomplete that still has to be finished or has yet to occur.
To my question of what she would do with the rest of the paintings, Marliz answered, "I don't really know."
After visiting her studio, we went on to see her storage, containing 40 years of the oeuvre. Oh, boy, was I blown away.
Marliz is one of the most prolific artists of the late 20th century and early 21st century. An oeuvre unmatched by any artist, way ahead of her time. Regarded as an embodiment of Picabia by Anton Henning, where I will add to Matisse and Modigliani combined with the versatility of her ingenious self. Marliz Frencken is a needle in the haystack extending this universe and beyond. You might think all these significant remarks should be supported: they will once you visit her 40 years oeuvre Solo at Kunsthalle St. Annen in Lübeck.
To be continued...

Collective Post - Marliz Frencken - Studio visit #4: More extensive than Time
Collective Post - Marliz Frencken - Studio visit #4: More extensive than Time
Collective Post - Marliz Frencken - Studio visit #4: More extensive than Time


Collective Profile - @roline


Love to read these, sounds like another great visit! 🔥
3 months ago·