MARJORIE AIOLFI
CAPTURE THE INVISIBLE
As an art historian, Marjorie delved into classical Chinese art and Japanese decorative painting at the École du Louvre, later working in the museum field.
Self-taught in art, she showcased close-up analog photos of water and nature, infused with light. She also worked on two shows at the Cirque d’hiver in Paris, photographing backstage atmospheres.
In 2013, she returned to paintingfor a first cylce : Water lilies and Japanese screens, an impression torn from the sky and earth. Influenced by Zao Wou-Ki, Claude Monet, and Edward Hopper, her work in acrylic on canvas blends pure pigments with various mediums and gold or silver leaf or powder. Her exhibitions are held in Bavaria, her place of residence and work.
ARTISTIC APPROACH
EACH PAINTING IS A SILENT PIECE OF MY UNIVERSE
My work is primarily a meeting between the East and the West, between traditional Chinese painting and Impressionism, between figuration and abstraction, between the visible and the invisible.
My artworks are inspired by my interest in macrophotography, where water and stone transform into other materials and colors under the effects of light, air, and wind.
Similarly, each painting is a microcosm in perpetual transformation under the gaze of the viewer. I paint with pure pigments applied in multiple transparent and glossy layers, adding bronze powder or gold leaf. The whole reacts to light.
Painting of the unfinished, the brush interrupts and the landscape remains in a state of becoming, unfinished. Yet, this space is not synonymous with emptiness or inertia. This "emptiness" is the ever-transforming energy of nature.
I began my work with a decorative cycle, "Paravent," inspired by Japanese lacquer paintings with gold leaf from the 15th and 16th centuries, without perspective, overflowing from their frames.
I continued to work on water and impressionism with a Tribute to Monet, where the light strikes the water lilies, deconstructing them, showing both their origin and their future.
With "Strange Days," man finds himself crushed by concrete and loneliness. The landscape is deconstructed and tends towards abstraction. Light diffracts the forms and dissolves them.
Man seeks refuge, perhaps found in "Reminiscence." In these silent landscapes, akin to frozen images from vacation photos, reminiscent of old photochromes where colors appear faded, real memories mingle with false ones and help us grow or heal.
ARTISTIC APPROACH
MY WORK IS ORGANIZED INTO SEVERAL CYCLES
