I draw on what it means to be human in our current, fluid world of ephemeral contact, overflowing amounts of information, technology intervening lives. I do this in a very direct, intuitive and associative way, navigating between abstraction and figuration, switching abruptly between confusing perspectives, using vibrating hatchings and layers of colour. I translate the subject into lines that may even flow out of the drawing, and into the room. Thus I emphasize the impossibility to absorb all information at the same time, the fluidity of different perspectives, connections that shift upon changing your position.
While drawing I take on the role of a clairvoyant. I concentrate, ‘tune in’ to what is going on in the world around me and within myself, and start drawing. I act on impulse and association. In continuous and concentrated dialogue with the paper in front of me, an image appears. Subsequently I elaborate this image thoroughly. During this process I aim to let eye, hand and heart coincide.
As an artist I consider collaboration, exchange, teaching, and interactive projects as an important part of my practice.
Marisa Rappard’s work is well represented in Centraal Museum’s drawing collection, as well as in the UMC collection, NOG/Stedelijk Museum Schiedam, Boijmans van Beuningen museum and many private collections. Rappard is represented by Cokkie Snoei in Rotterdam.
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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