Open channel conceptual pieces
When you see any of the creations of Marre Moerel it's impossible to stop thinking about them nordic roots.
The mist of Breda and the white finish of its ceramic they merge with the light of the lights and with his long hair, gray filaments that intersect with his blue gaze, and with the spirit of her indomitable of her.
The spheres – lamps or vessels – lengthen and hybridize, coexist with soft bases and vases that perch, voluptuous, one on top of the other.
heart shaped glasses
His pieces form an autobiographical account. As a child, she found discarded objects that she endowed with playful content. She today she looks for what she does not understand, what produces rejection, and transforms it.
During her stay in the Exeter School of Arts, the horror vacui of her Victorian environment led her to explore the functionality of sculpture.
In Parson's, New York, the rapacity of the medical system aroused an interest in the cellular that was embodied in the 'Biology Series'.
The 'Food on the Table' collection
The meaning of what is useful, what is decorative and what is edible varies in each culture. In food this perception is sharpened.
The project 'Food on the Table' arose from the impact produced in Moerel by the exhibition of the viscera in the Mostenses market when she, twelve years ago, she arrived in Madrid.
The layers of meaning start from the origin. In Rotterdam, where she began her design studies, the flesh is lined with clinical correctness.
The Madrilenian offal stalls they struck her gaze with the force of the obscene. She verified that the effect was diluted in the forms.
As she approached and abstracted the blood and tissues, she perceived a beauty that she transferred, through molds, to ceramics.
The cow's leg: the ideal container to store salt or sugar
But it wasn't until she found herself facing the carcass of a sheep in a delhi market when the project was defined. She saw in the rib cage, inverted, a container.
Moerel's Calvinist imprint demands give the object a function. The repulsion caused by the viscera as food brought them to the table.
In the kitchen, the cow's leg becomes a jar to store rice or sugar, the criadillas in salt and pepper shakers, the bovine liver in a serving dish, the pig's heart in a glass and the intestines in a horizontal jug through which the wine circulates.
Food is made plates and containers. White deprives the object of the crudeness of blood, cleanses it. The forms are fluid and organic.
Marre likes to play with colors: the golden eggs, the red echo of blood, black as a fetish.
Marre Moerel in her workshop
From the traditional and domestic culture, Marre continues devising emaciated pieces, conceptually open in channel. A crudeness of the forms that does not let escape an almost bloody sense of humor.
India is his latest recurring destination. There he has found a new source of inspiration in a society between conflict and balance, between chaos and transcendence.
In 2018 he did a residency at panipat , near Delhi, where he carried out a project in a carpet factory. Over there he braided the hair of the weavers, binding them together in a circle. He encouraged them to sing with forbidden voices during the day.
The men watched the leading role of women, inverted. The exploitation of women, like the excesses of the American medical system or the physical rejection generated by the viscera, became an object, therapy, performance, in a form of healing.
Moerel's pieces form an autobiographical account