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Monkey Games

2018, Marie Strauss: Monkey Games

Catalogue essay by Hilary Radner, published on the occasion of the exhibition "Marie Strauss: Monkey Games", Eskdale Gallery, Dunedin, November 2018.

Monkey Games Marie Strauss This collection of works, produced over the period of a year by Marie Strauss, further explores a number of themes that have emerged in her art in the last decades: the influence of her environment, especially her family; the use of animal imagery as a vehicle for the expression of human emotion; the motif of theatricality and performance; and the deployment of an intermedial mode of representation as a means of exploring the complexity of the seemingly mundane issues that she addresses, that of everyday connections that provide the fabric of human life. Marie explains that “the monkey games started with me looking at images of a lot of monkeys in a zoo. I wondered if they mirrored us and what they thought . . . and [what] we find so fascinating about them––which is that we behave similarly.” Marie’s interest in “behaviour” is tied to her background in theatre––the ways in which art, extending beyond the stage itself, provides a platform for the examination of la comédie humaine. In the context of this exhibition, she notes that the “children . . . are performing, sometimes in costume (even the flipper boy). We are watching them. Sometimes they are watching (while we are looking at them). They [the children] are . . . in the centre of the canvas. . . . The monkeys are displayed, physically [as ceramic figures] and in the drawings, as if on stage." The series of ceramic monkeys included in the exhibition foreground this theme of theatricality; they are positioned on wooden plinths, as though they were actors performing in the round, a composition reproduced in the pastel drawings of similarly interacting monkeys. These monkey figures enact a compendium of gestures that suggest that not only do we behave similarly to monkeys but that, perhaps more importantly, we experience the same emotions—of loneliness and attachment, of empathy and solicitude. One creature sits alone, while the others are “paired,” coupled in an array of arrested movements that conjure up the range of emotions that partners experience in intimacy as well as the systematized methods of physical expression and attitude that characterized nineteenth century stage acting. While the figures have a childlike dimension, they also seem adult, or at least mature, fixed in their relations with themselves. In Marie’s words, these small figures, “the sculptures” as she calls them, as opposed to the pastel drawings and paintings, offer “very basic gestures,” highlighted by the use “black and white” and “natural” colours. The sober, muted colours of these small enigmatic ceramic figures stand in stark contrast with the lively, at times almost garish, hues of her paintings in this same exhibition, which focus on a young child, a little boy, perhaps, but not as yet subsumed into a system of stark gender differentiation. This child (not necessarily the same child) is surrounded by fantasmatic animals that bring to mind the hallucinatory experiences of early life, ludic, but also at times fraught with fear and anxiety. Marie describes them as about “innocence, an unspoilt world, childhood, play and danger.” “The paintings,” she says, are “also about trust . . . child and dad, in Help Is Coming, about first awareness of other species . . . a child with a fish and another with a white stag.” In Boy with Flippers (above) the child “is caught in that space with no secure footing and not seeing what is under the water or swinging above . . . maybe the paintings are so bright because they are so intense.” Strauss’s inspiration is often ignited by family photographs (a strategy that harkens back to a number of her earlier works); perhaps in consequence, her painterly renditions of these childhood scenes evoke both a sense of familiarity and strangeness, in which reality and fantasy come together, unified through her fluid and confident brushwork and dynamic composition. The pastel drawings echo the ceramic monkeys in the gestures, forms and disposition of the figures, with the difference that the drawings are rendered in warm, rich hues, which exude a sense of intensity not present in the little sculptures: the latter seem chastened, as if aware of the constraints of maturity, at odds with the expansive universe of childhood depicted in the paintings. According to Marie, “The sculpture came after the paintings, mimicking our affections,” while “the drawings” are “of the sculptures.” The rich and varied palette of the drawings transforms the melancholy of the sculptures into something much more vital, evoking an appreciation of the depth and richness of the human psyche’s interior life in which childhood lives on in the play of colour within the limits of material existence. The impact and power of this notable collection of work derives from Strauss’s capacity to literally draw upon emotion in order to recreate the intensities of human experience within day-to-day life in a body of work that is both playful and deadly serious. Hilary Radner November, 2018 Dunedin Cover Images: Help Is Coming (2018), oil on canvas; Pair 1 (2018), hand-built stoneware with multi-fired slips and glazes. Direct quotations by Marie Strauss from email communications with the author, November 2018. All artwork by Marie Strauss. List of Images: Monkey Games 1 (2018), pastel on paper; Boy with Flippers (2018), oil on canvas; Pair 2 (2018), hand-built stoneware with multi-fired slips and glazes; White Stag (2018), oil on canvas; Monkey Games 2 (2018), pastel on paper. Bibliographic Reference Title: Monkey Games: Marie Strauss Author: Hilary Radner Publisher: Dada Manifesto Ltd., Dunedin, New Zealand ISBN 978-0-473-46396-0 Text ã Hilary Radner Images ã Marie Strauss The moral rights of the authors have been asserted. All rights reserved. Except for the quotation of short passages for the purpose of criticism and review, no part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission.