| The human figure is the vehicle with which I can most positively relate. I’m preoccupied and fascinated with and curious about the solitariness and mysteriousness of human beings. The more developed my curiosity becomes, the more acute, the more complicated, complex and suggestive the world around people becomes. I am also driven and guided by sensory impressions: noise, color, texture, smell, shapes, expressions, tone, language and light. I don’t approach the canvas with a particular image in my mind. I go to it instead with pigment in my hands and then do something to that piece of material in front of me, then I work almost at random until the image begins to assert itself. |  |
Marianne Kolb
The human figure is the vehicle with which I can most positively relate. I’m preoccupied and fascinated with and curious about the solitariness and mysteriousness of human beings. The more developed my curiosity becomes, the more acute, the more complicated, complex and suggestive the world around people becomes.
I am also driven and guided by sensory impressions: noise, color, texture, smell, shapes, expressions, tone, language and light. I don’t approach the canvas with a particular image in my mind.
I go to it instead with pigment in my hands and then do something to that piece of material in front of me, then I work almost at random until the image begins to assert itself. This action depends on the imponderable and I welcome the accidental—it creates an arena within which to act.
The questions that I always ask are: what do you want to be, what do you want from me and what do you want me to do? Sometimes the painting becomes the answer—in other words, I am not trying to prove anything. I am the one who is learning.
