Marieta Reijerkerk: ARTist of 'smooth roughness':
Marieta Reijerkerk at 2007 Biennale in Florence
The leftovers of the rainforest in the year 3007
Changing identity 1936
Changing identity
Changing identity 1973
Changing identity 1991
Hanoi people
Where Is She
Last Witness
Letter from Marieta, 20 January 2011
Hi Karl,
You have asked for some input, so I was thinking it over the last few days.
I do not really like to talk about my deeper thoughts but sometimes it is necessary because people keep asking for a deeper meaning because they don’t understand the picture.
An example of that is the sculpture 'Waves at the Sea in 2109'. The theme of the exhibition was '9 Meters Plus'. And that was because the raising of the dikes at the coast up to 9 meters had just been completed. When you are walking along the coast you do not get the feeling that the dikes have a height of 9 meters and I wanted to show what it means, this height, when the sea-level is rising and we are happy the dikes are so high. People were indeed shocked.
The latest discussion on the TIA website was about Conceptual Art. For me I start with a concept, an idea, but then the process is also important for me. And in the end also the artwork has to be good. Most conceptual artist are not interested in the result but for me the result is equally important.
Yes Karl, I think you have found the right words when you say I am concerned with how people abuse the world. The interfering of people in the landscape. The graffiti they leave everywhere. The rubbish they leave behind as you can see in 'Where is she' and 'Time stood still'. I made these two works after travelling through the north of India. I made photos of the rubbish left by nomads high up in the mountains.
One artwork has a stronger message than the other, but I do not have the feeling that I have to explain that. For me the audience can just have a look and have their own opinion. Most of the time they either like my artworks a lot or find them awful.
But it becomes increasingly necessary to tell something more. One of the latest artworks is called 'Drowned Village 116'. This work is about the 'Three Gorges Dam' and what it did to people. One part is an old door that was removed from one of the villages that is now under water. The Chinese government put under water 116 villages and 2 cities. In one of these cities 4 million people were living. They relocated the whole, cities and villages, and no-one is asking any questions.
These things keep me busy. I think also of the struggle of people to survive in this world, in particular of the people at the bottom of society. They are not interested in saving the world. They are just interested to survive day by day.
Now I hope this is something to think about. I enclose the picture of the artworks I mentioned in the end.

With warm regards, Marieta Reijerkerk

Drowned Village 116
Marieta Reijerkerk

She works with materials which come across her during world tours or on a quick run trough her own home port Rotterdam. Marieta shapes materials without loosing a lack of respect for the authenticity of the substances. Manipulations performed by ARTist Marieta are modest. Her mastery and craftiness contribute to the subtlety of Marieta’s ARTworks.

Travelling far regions have a lot influence on Marieta Reijerkerk’s design. Even so, special cultural habits which have been smiling upon her during trips. Marieta made for instance journeys through Mexico, the rainforest of Honduras, France, Switzerland and China. Marieta says: “The journeys I make are important for my work. Things I collect during my travels have attracted my attention by their structure, their surface, colour and shape. Often they smell and feel, as if they were remnants of archeologically excavations. Many things I capture on photo. It’s not that I seek for inspiration during my trips. Things cross my path and meet my eyes.”

Background materials on her wall objects and sculptures, it doesn’t matter if it’s made out of lead, copper or wood, interfere with the drawings, photographs, graphic prints and materials on the foreground. Marieta’s compositions seem to go through life for such a long time. As if the ARTworks were meant to be composed like this by ancestors. But by using different techniques Marieta shifts contexts whereby her ARTobject slightly alienates.

In the ARTwork and design she has made since 1995, after she completed her study, you feel the zest of love for diverse intercultural printing techniques. In her present-day 3D-objects, Marieta goes back to the base of printing. Besides using old Chinese printing techniques and woodprints, Marieta still does tricks with chemicals.

Annet Brugel, Rotterdam 2007
At the 2007 Biennale Dell'Arte Contemporanea della Città di Firenze Marieta received the Award Best Artist, the choice of the President of the Biennale.
Waves at the Sea in 2109
Sad Morning
Hard Work
Spring 1
Time Stood Still
Rough Sea
Meeting 1
Meeting 2