Schweden
Marianne Hall
I seek to convey and explore a new language. I make images in clay.That is my language. It is through the language that we achieve contact with reality. We are continuously created by our language.In eight years when I studied art, my principal subject was the study of the human body, and it brought me into an ever deepening world of beauty and connection. Art became my spectacles. The very first time I used my clay to express my deepest emotions, was when I suffered a sorrow so deep, that I could not weep, not speak nor act. I held clay in my hand, and I made a sign in the clay. I shouted in the clay! This gave me a new language, a language for my emotions. Working this way with my art, I experience a stronger awareness of myself and of the world I live in. Sometimes I work like a foreign correspondent, and then I use my clay as a camera. My new language gives me the power over my powerlessness. I am able to act.In The Bird-Woman, the human and the bird are mourning together. The human and the nature are dependent on each other. The modern human does not understand this, and exploits nature.The viewer may use my art, not as an object but as a tool to make his own journey to his inner self. I step aside, the viewer is invited to participate in a creative process of his own.The most important aspect of my work is to create a language beyond all different languages founded upon words. We live in a world with a lot of information, but we are seldom able to communicate in a deep dialog. And there is no time to respond to all information .In particular we have no time or language for emotions in our culture! I believe that emotions are the creative source we need. My sculptures express protest and appeal, affection and care. They touch upon the universal and are timeless in their expression, yet in the midst of the agonies of our time.That is the tradition of art all over the world.
