Being Lost is a Mere State of Wonder

Through my small works on paper I invite you to enter a realm oscillating between fictive and non-fictive. Derived from images I found on the internet, in the newspaper or in my own imagination, they depict a world full of mystery and magic, sometimes dark. A lone hunter, a bewitching goddess, a magical tree or a staircase leading up to the clouds all seem parts of a narrative untold.

When zooming out the small works blend into large works that show an endless stream of narratives. For these large drawings initially I randomly fill the paper with a large variety of lines, scribbles and blots, letting my hand wander over the paper. Sometimes I intentionally add figurative elements but more often I look for figures in the lines already drawn themselves. Thus I may discover a fierce and disturbing animal, a little spirit flying upward, a hollow-eyed prophet who sees through time.

In the final phase of the drawing I critically adjust the dense crisscross of lines in such a way that it invites the viewer to enter and wander around in it endlessly. Looking at what at first sight appears to be an abstract drawing, unexpectedly shapes, structures and figures appear; lost fragments of stories, that merely slip away again when your eye tries to catch them.
Remainders of imaginative places in space and time float around in an endless narrative stream, in which fact and fiction, past and present coincide.

In my installations, the crisscross of lines leaves the paper and spreads out across the floor like a surging, whirling flood. The spaciality that is present in my large drawings becomes physically tangible: one layer covers the next, overflowing into the room.

We are formed by the infinite ocean of ancient stories that continue to resurface in us in continually different forms.

Through drawing I depict the world that surrounds me me: a world brimful of information, one that changes quickly and is hugely diverse. While drawing contemporary reality translates itself into lines and surfaces from which figures and forms emerge that trigger all sorts of associations. The past, too, makes itself felt in the flow of information: we are formed by the infinite ocean of ancient stories that continue to resurface in us, in continually different forms.

Marisa Rappard’s work was displayed previously in Kunsthal Kade in Amersfoort, Centraal Museum Utrecht and at various galleries and art institutions domestically and internationally. Her work is well represented in Centraal Museum’s drawing collection, as well as in the UMC collection and many private collections.

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‘Marisa Rappard’s work takes in an exceptional place within contemporary drawing – not only because of her authentic handwriting and her preference for using colour. Another captivating aspect of her work is that creating an image on a modest piece of paper does not suffice to her. Using paper and thin wooden sticks she is able to create installations raising the question as to what is a drawing. Her lines keep pulling me in, making me ’hop’ from the installations to the large drawings and zooming in on the small works. With relatively simple means she creates a world that keeps surprising me. Drawing coloured lines that keep continuing she shakes off every convention and submits herself completely to her work, work that questions her, work that escalates and literally enters the room, work that keeps astounding me.’

excerpts from Arno Kramer, ‘A search’ Mr. Motley magazine 2016

‘Inconceivably, Marisa Rappard has managed to combine large amounts of drawings in all sorts of sizes into a structured chaos: a chaos inviting you to come closer and lose yourself further ever more, since between all of those lines occasionally a fragment of a story appears – and another one, and anonther one.’

excerpt from Jantine Kremer, ‘Zooming in and out’ on the exhibition ‘Traces of Infinity’ at Centraal Museum Utrecht, Lucy magazine 2016