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Artist Exhibitions:
Selected Exhibitions,
Painting, Printmaking, Video
Installations
2006 'Marisa Keller,
paintings and Prints', Galerie
de Praktijk, the Netherlands
2005 ‘Print Out’, Printmaking
Society, STPI Gallery,
Singapore, mixed techniques
2005 ‘Time Phase Print’ 25th
Anniversary Show, Printmaking
Society, Jendela Gallery,
Esplanade,
Singapore, Prints, mixed
techniques
2005 'Lessedra International
Print exhibition' Sofia,
Bulgaria. ...
Further Information
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Artist Galleries:
Art and Printmaking Studio,
Singapore
www.marisakeller.com
Gallery FOST , Singapore
Galerie Petit, Amsterdam, the
Netherlands
Galerie Wed, Utrecht, the
Netherlands
Galerie de Praktijk,
Wissenkerke, the Netherlands
...
Further Information
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Artist Reviews:
Coming Soon!
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Collections:
Changi General Hospital,
Singapore
Shell Companies, Singapore
City Council, Gouda , the
Netherlands
Credit Lyonnais Bank, the
Netherlands
Humanitas, Rotterdam, the
Netherlands
Van Rietschoten en Houwens,
Rotterdam, the Netherlands
Orga Info Advies, Woerden, the
Netherlands
Azia Tayabali & Ass. ,
Singapore
Private collections: Singapore
,The Netherlands, USA, ,
Indonesia, Australia, Germany
...
Further Information
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Commissions:
Coming Soon!
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Artist Statement for Marisa Keller
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Full time Dutch artist Marisa Keller lives and works in Singapore since 1993. Trained as a painter she was always interested in printmaking and started to produce colour woodcuts in the early nineties. During this time she decided to follow the Master of Fine Arts program of RMIT University at LaSalle-SIA, College of the Arts with a main focus on printmaking. Other techniques like video installations were introducéd into her practice and now she is dedicated to push further the bounderies between printmaking and other media.
Marisa Kellers works can be found in private and corporate collectors in Singapore and around the world. She taught printmaking from 2001 to 2006 at LaSalle-SIA College of the Arts in Singapore. Recently she is busy creating new works and conducting courses in her new non-toxic printmaking studio .
"All my work evolves around human relationships to the natural world and how different time frames are important to our experiences .
A recent series of prints I started with the idea of the horizontal line that represents the space where one natural element changes into another. These changes also relate to the process of working and reworking the etching and other plates resulting in sometimes dramatic or very subtle transformations of the print.
Materials and techniques representing the elements of earth, sky, water and wood are used to create textures and marks. The horizontal line will shift, change its shape, become rugged and course or will be faint and disappear in the end: processes that mimic the evolution of nature.
Earlier work evolves around the element water. ‘Waves’ , an installation of monotype/woodcut on silk banners explores universally systems of elemental, abstracted marks , forms and colours related to the ever-changing world of land and sea. The submerged meaning speaks of water-based evolutionary roots of life itself, and aims to evoke parallels between human sense perceptions, the sensuous tactility of water environments, and the sense of limitless and continuous time and space.
The long narrow size of the image is inspired by pillar prints, the Japanese woodblock print in which the viewer is provided with a glimpse into the world through a narrow aperture, stimulating the viewer’s imagination to see beyond what is revealed. The image invites the viewer to engage in to the different layers of colours and textures of the work. It invites to explore the work from a distance as well as up close.
In the nineties I was very interested in woodblock printing and I developed my own reduction techniques to handprint with waterbased inks. The images for the woodblock prints all started from sketches made during travels in S.E. Asia, Australia and Europe.
Although I make paintings and (video) installations as well it is printmaking where I feel I can really express the ideas and impressions I have.The engagement in the traditional techniques of creating the plate is very rewarding. The plate sometimes seems to have a life on its own and never fails to suprise."
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