Marin de Jong (1976) graduated from the Willem de Kooning Academy and is based in Rotterdam. Marin works with a variety of techniques on both two- and three-dimensional artworks. His focus however is on painting with egg tempera. The knowledge and craftsmanship needed is one of the reasons why Marin is attracted to working with this technique. Egg tempera is traditional paint created by mixing egg yoke, pigments and oils.
Attention to the productive process has always been important to Marin. His ambition to create a perfectly executed artwork is what motivates Marin to focus on details and having in-depth knowledge of the materials he uses. He therefore draws inspiration from creators and cultures who prioritise sustainable value creation by focusing on the execution, just like he does.
In his work Marin draws a parallel with the Romantic period, which succeeded the age of enlightenment. In a time where conservatism and progressiveness are fighting to win the popular vote, people are increasingly craving authentic and memorable experiences. And in line with Romantic traditions, artists will respond to the status quo by seeking artistic integrity and exploring parts of the world unknown. Marin latests shows all center around this topic, resulting in big gestures as well as works with a minimalistic approach.
artist statement – current work
Something Wonderful
“I’m standing at the foot of the mountain, while staring at its top. Right there, is a time and a place where I’ll be able to oversee it all. Boundaries will fade, a new horizon will reveal itself. And as human imagination conquers, chaos and doubt will melt like snow in the sun. Furthermore, all and nothing will come together and it will all be wonderful.”
In a time where conservatism and progressiveness are fighting to win the popular vote, people are increasingly craving authentic and memorable experiences. And in line with Romantic traditions, artists will respond to the status quo by seeking artistic integrity and exploring parts of the world unknown. By showing works of art in which innovation and adventure are the central theme, Marin de Jong in his current series, named ‘Something Wonderful’, embraces this tradition. Yet at the same time he criticises what he believes to be a naïve hunger for authenticity. After all, while exploring the final frontiers, a commercial infrastructure is created to accommodate the masses.
As in previous series Marin focuses on the destructiveness of civilization: when escapism is the result of the loss of the political status quo, todays society will respond by capitalizing the great adventure. ‘Something Wonderful’ shows us artworks that, by adopting themes like mountaineering and space exploration, tell us about a future for mankind. The pieces on display in one way are an artistic expression, they seem full of curiosity and marvel on the possibilities the great adventure has to offer. On the other hand, the artists’ work includes deeper levels asking to be explored. Aside from renewed attention for nature’s powers en human imagination, Marin clearly shows his cynicism about self-perpetuating processes, for instance in the commercialisation of mountaineering we’re witnessing today.
In ‘Chronicles for the millions’ (2017), Marin’s first show in a series of works evolving around the revival of the Romantic era, cynicism about the current commercialisation of the visual arts is clearly expressed. At the same time he’s experimenting with stripping a piece of art of its visual core, until an abstract image with a certain power or eloquence remains. In ‘Something Wonderful’ he continues on this path, along the edges of the Romantic era, where nothing is what it seems, just like in previous exhibitions. In a world where different values are battling each other, the visual arts are defining its position in society: should the artist primarily be a creator, or is he a criticaster?
Chronicle For The Millions
A new Romantic era and the oppression of the arts
After decades in which individual freedom was at the centre of our liberal society, a new Romantic era has arrived. The Western world, again, is building walls and raising borders. A renewed sense of nationalism and a focus on ethnical identity are central in the resistance of the elite and it’s status-quo. In this era, where nuance is losing from discourtesy, there is no room for artists. Except for super stars like Van Gogh, Picasso and Koons.
‘Chronicle for the Millions’, an exhibition by Marin de Jong, is a respond to this new era. The early 21st century manifested itself with doubt, chaos and a split within our society’s. A stark contrast with the tranquility of the years before the millennium. This recent turmoil has severely affected the position of artists. The arts are seen as part of the elite, for which there currently is no appreciation. In respond to this new order, Marin de Jong is covering up his art works, discarding their visual value, destroying them and hiding them from the masses. By doing so a new form is created: the ultimate anti-form.
But the arts are resilient. They will never go away. Not even when de masses choose commerce and dogma over freedom. During his entire oeuvre, irony has always been the dominant form in which Marin de Jong communicates through his art works. In this new series, like in his earlier works, nothing is what it seems. And by doing so Marin de Jong is joining the chaos that is central to the rise of this new Romantic era. As a spectator viewing this series, an inquiring mind is needed. The millions might be choosing super stars, dogmatic ideas and nationalism over individual freedom, mockery and irony are the only possible response.
