Marion Rudermann

Dance: an inexhaustible source of inspiration

The topic of the dance, even if it is not only, is a recurring subject in the work of Marion Rudermann.
In 2005, year when she decides to be devoted seriously to painting, she makes an incredible discovered. Invited to the Garnier Opera for the first time, she attends the “magic” spectacle of the large choreographer Merce Cunningham. This representation will be for her a revelation. Universe of the dance, to which it forever really paid attention, seems to her from now on a medium of an incredible modernity and an inexhaustible source of inspiration.
Air, semi-sparkling, énergisants…. Its tables are quasi-alive paintings. “In fact, this is the body moving which interests me and in particular the imaginary reconstitution that one can make of these movements, by looking at the canvas”.

The artist transforms sometimes his principal dancers into notes of music and its works become true pictorial partitions.
For Marion Rudermann, the dance is thus pretext with the creation of works, where the body can be put in scene with much freedom and imagination, following the example certain tables where it combines the oil-base paint with the highlighting of the dancers or, with the addition of tended cords of double bass, encrusted in the table: “A little primitive manner but some, of going towards a polymorphic work, combining music, painting, sculpture and dance”.

Diversity as key word of her work

But the production of Marion Rudermann is not limited to works on the topic of the dance because she also works on original series of portraits, “the series David Lynch”… And when she does not paint, she creates either of new sculptures, or of the furniture of Article.
Ultimately, which characterizes her work, it is her taste for the variety and her capacity with being plural. “I like to make different things, to renew my way of working, of modifying my perception of the things. Like everyone, I am not always of the same mood. And with the image of this changing frame of mind, I thus do not want to lock up me in a pictorial yoke”.
This diversity of the styles and the techniques is used for indeed the artist in her desire to surprise the other. Above all, she wishes to prick its curiosity : “Ideally, I would like to create at the spectator an effect of surprised which is always renewed”.

Also in her work we will find some tables which put to us in empathy with the pain physical and mental that they appear, while others, taking as a starting point the dance, will lend to us feelings of lightness and energy.

An artistic vitality that each one will be invited to discover during the two next exposures planned for september, in Paris, on the topic of the dance!

Helene Nguyen