"notre solitude (jour llll-l)"

"Knees touching the earth, connected to nature, Listening to the whispers of the wind"

"It was all so innocent"

"The blue face"

"notre solitude (jour llll-lll)"

"notre solitude (jour l)"

"notre solitude (jour llll-llll-l)"

"J'ai regardé le soleil"

This painting explores the complex interplay of identity, emotion, and the self. The central figure, whose face is a striking, almost violently vivid red, stands as a stark representation of inner turmoil or intense emotion. The red face dominates the composition, symbolizing a raw, visceral state of being, where the individual is consumed by powerful, possibly overwhelming, feelings.

Surrounding the red face are ghostly outlines of other faces, fading into the dark, textured background. These faint figures suggest the multiplicity of the self—the various identities or personas that coexist within an individual, each vying for attention, yet none fully realized. The repetition of the face, each layer slightly shifted, adds a sense of movement or dissonance, as if the self is constantly in flux, never static.

"The Red Face" is a powerful meditation on the fragmentation of identity and the struggle to reconcile the different aspects of the self, all while confronting the intense emotions that lie beneath the surface.

"The red face"

This painting was inspired by the complexities of human emotion and the vulnerability that we all experience at some point in our lives. The figure represents the human condition, a raw and honest depiction of our inner struggles and strengths. I wanted to explore the tension between the physical and emotional states, drawing from both personal experiences and a broader contemplation of human nature. Artists like Francis Bacon and Egon Schiele, who were unafraid to confront the visceral and often unsettling aspects of the human form, have greatly influenced my approach.

The subject matter—a distorted, contemplative human form—was chosen to strip away any pretense, focusing on the raw essence of human experience. The style, which incorporates both abstraction and figuration, allows for a fluid interpretation, leaving room for personal introspection and emotional engagement.

"ma solitude (jour l)"

"another place"

The central figure, rendered in pale, ghostly tones, appears fragile and translucent, as if fading into the background. This figure symbolizes a being who has been uprooted, forcibly removed from a place of origin, comfort, or innocence.

The figure’s body is marked by harsh lines and shadows, suggesting pain, suffering, and the scars of displacement.

The texture of the background is rough and scarred, as if the very environment has been marred by the act of tearing or removal. Faint, almost imperceptible markings on the surface suggest a history of wounds, both physical and emotional.

The title, "I Was Torn from the Garden" suggests an allusion to the Garden of Eden, a place of original purity and bliss from which humanity was expelled. Here, the figure stands as a modern-day Adam or Eve, confronting the harsh reality of existence after paradise, grappling with the pain of being cast out from a place of safety and abundance.

This painting captures the profound emotional impact of separation, the anguish of being disconnected from one's roots, and the inevitable scars left by such an experience. It speaks to the universal human experience of loss and the enduring search for meaning in the aftermath.

"I was torn from the garden"

"notre solitude (jour llll-llll-ll)"

This painting represents the duality of existence, where the human form is submerged in a dreamlike state, floating between reality and the subconscious. The figures are depicted in shades of blue and gray, their bodies translucent and their faces almost mask-like, reflecting a deep sense of isolation and introspection.

The figures appear to be upside down, suspended in an ethereal space that merges with a dark, almost abyssal background. This inversion hints at a world turned on its head, where the boundaries of the self are blurred and the line between the inner and outer worlds becomes indistinguishable.

Overall, this piece captures the essence of solitude, not just as a physical state but as an emotional and existential experience, where the self is in a constant state of flux, hovering between presence and absence.

"notre solitude (jour llll-llll)"

"notre solitude (jour ll)"

"notre solitude (jour lll)"

This painting was inspired by the complexity of human emotions and the experience of vulnerability. I wanted to capture the essence of how we feel when we are exposed and unprotected, both physically and emotionally. The figure represents the human condition—stripped down to its most basic form, devoid of details that define individual identity, yet still resonating with a sense of presence and strength. I was also inspired by the interplay between the physical and the metaphysical, exploring themes of inner conflict, resilience, and the duality of existence.

  
I hope that viewers will experience a mix of introspection and emotional connection when looking at this piece. The painting's dark tones and abstract elements are meant to evoke a sense of mystery and contemplation, prompting viewers to reflect on their own feelings of vulnerability, identity, and strength. I want them to question what lies beneath the surface of our outward appearances and consider the unseen struggles we all face. The absence of clear facial features or defined elements is intentional, allowing each viewer to project their own emotions and experiences onto the figure.

  
The subject matter, a faceless figure, was chosen to symbolize the universal nature of vulnerability and resilience. The abstract style reflects the ambiguity of emotions and the complexity of human experience, pushing viewers to interpret the piece in a way that resonates personally with them. The interplay of light and dark, sharp lines, and blurred edges is meant to mirror the conflicting emotions we all harbor—strength and fragility, clarity and confusion

"my own limits"

  
I chose to work in an abstract, expressionistic style because it allows for a greater freedom of expression—free from the constraints of realism or representational art. This medium gives me the ability to communicate emotion directly, without the need for a literal narrative or defined figures. The choice of bold, contrasting colors like red and black, along with fluid, gestural brushstrokes, helps to convey a sense of urgency and intensity. This style allows me to explore the depths of human emotion, making the invisible visible, and giving form to feelings that are often intangible. The medium itself, with its unpredictable drips and textures, mirrors the unpredictability of our emotional states, emphasizing the raw and unrefined nature of the human experience.

« soudainement, nous étions si loin #1 »

The abstract style was a deliberate choice to avoid dictating a specific narrative, instead allowing the viewer to bring their own experiences into the interpretation. The subject matter, focusing on the concept of "another place," was chosen to explore the idea of spaces that exist within us, places that are shaped by our emotions and memories rather than by geographical boundaries. This approach helps to create a piece that is both personal and universal.

Short video of new artwork graphics with music and sound by Miles VanDermeer aka Quiet Smiles 

The Kinetics of Color and Shape

* In July 2022, while recovering from Covid, I began a new series of digital abstract paintings titled "Color Abstractions." they are somewhere between Bahous-style and Abstract-Expressionist in style. They are designed to both work as wall art and for any screen so as to optimize their digital appearance as NFTs. Which are available as one of ones on Mint Gold Dust.  * I print with an Epson Stylus Pro 3880 printer; the archival Chromium ink gives the color a rich and transparent value that allows me to mix colors as if they were color gels. The printing itself can take a great deal of time because each painting has many colors and responds differently on paper stock. For this show, I have used Hahnemuelle exhibition archival photo rag papers. Each one is 8x8,12x12, and 18x18 Squares. They work well in multiples of one, three, six, and ten. The results have been exciting for me.

Abstraction in C. 00

Chromium Inkjet digital painting on Hahnemuelle brite white cold press paper. 

Abstraction in Č flat. 

Digital painting over a photograph of a facade of a 300 hundred year old building in Sacres Portugal, 

Textures of Portugal 

End of Days    Experimentation is the mother of invention, or so the saying goes. Having started my informal art career as an abstract painter, I now like to incorporate 2D elements into my work, as seen in “End of Days” which was conceived as a painting and later structured into multiple photographic textures. I made some drawings with pastel and colored pencils which I scanned into a digital file, using a digital paintbrush to enhance. Once in Adobe PS, I then created layers to build up the collage. The process of post-editing my photographs in PS and layering them with digital enhancements repeats throughout my work. End of Days used elements from Michael Angelo's Sistine Chapel as a layer. Sometimes, I find inspiration from a photograph that I may have taken years ago. I might start out working on an idea only to have discovered yet another during the process. Blue River is an excellent example of this process. I've started turning my work into digital assets, which I am selling as NFTs (non-fungible tokens). Because my work is digital and original, it lends itself to being an NFT.  In short, my art is based on inspiration, but as ideas only come so often, my time is spent collecting images with my Olympus OM-D E mark three-camera. During the editing process, a vision comes, something inspires me; I start by manipulating the image into a conceptual themed work, and it keeps evoking from there.

End of Day 

42nd Street s a 2D collage now an NFT. Consisting of over fifty layers and multiple photographs. The piece represents a years worth of individual photographs.that I shot and saved for the project. Ive always been focused on New York subway walls and construction site facades. Filled with layer after layer of advertisements urban wall. Passing construction facades and seeing the multiple layers of advertisements, flyers, lost items. I would observe that these walls sometimes looked like organic collages of textures, color and shape. Metropolis has many hand painted elements that give structure and dimension to the collage.

42nd Street 

Domus Chrisalys

Urban and architectural allegory of Machu Pichu

Andenes' signature

Time Square, Metropolis, and 42nd St. 
Growing up in​ SoHo ​, New York​, I​ ​ ​drew​ inspiration​ from the detritus of the cities billboards, subways, and walls layered with advertising, flyers, graffiti, weathered by time. Initially, I thought to recreate this look into a painting or collage. Instead, I began photographing and collecting urban textures, establishing a digital album for future work. I taught myself Photoshop in (2001) and began layering my images into digital collages. The three collages titled Time Square, Metropolis, and 42nd Street have over fifty layers each and countless pieces from my collection of urban textures. My first series of collages combined photographic images and hand-painted digital elements and was done over time spanning from 2003-2011. By turning them into NFT’s, we preserve them in our history like fossils. 

Metropolis 

traveling light 210305 - 210310

A series of 3 watercolors brush and pen drawings.
Each 85 x 105 mm



jm_watercolors project

A series of 6 drawings starting from the composition scheme of "proposition six_6.1 keywork". Inspiration for further work to be published on my updated website shortly.

Six variations

‘The banana suite proposition’ is a rhythmic melodic study in three series (one series of three and two series of six works) inspired and improvised on six Carla Bley compositions for “The Banana Quintet”: “One Banana”, “Two Banana”, “Three Banana ”,“ Four ”,“ Five Banana ”,“ One Banana More ”. Released on the CD “The Lost Chords find Paolo Fresu” in 2007 with Carla Bley (piano), Paolo Fresu (trumpet, flugelhorn), Andy Sheppard (soprano saxophone, tenor saxophone), Steve Swallow (bass guitar), Billy Drummond (drums ). Listen to the drawings.
Visit my website for more.

The Banana suite project series 3

‘The banana suite proposition’ is a rhythmic melodic study in three series (one series of three and two series of six works) inspired and improvised on six Carla Bley compositions for “The Banana Quintet”: “One Banana”, “Two Banana”, “Three Banana ”,“ Four ”,“ Five Banana ”,“ One Banana More ”. Released on the CD “The Lost Chords find Paolo Fresu” in 2007 with Carla Bley (piano), Paolo Fresu (trumpet, flugelhorn), Andy Sheppard (soprano saxophone, tenor saxophone), Steve Swallow (bass guitar), Billy Drummond (drums ). Listen to the drawings.
Visit my website for more.


The Banana Suite project series 1 and 2

A serie of preliminary studies and a box with 21 triptychs inspired by Knee Play 1, the first part of the opera "Einstein On The Beach" written by Philip Glass and designed and directed by Robert Wilson. Photo's of two studies and the box.
Visit my website for more.

Knee Play 1 project

Der Hase, Acryl auf Leinwand, 80x120cm, Marc Allgaier 2019

Teil der Ausstellung "Das Tier in mir" 
Galerie Interart Stuttgart.

Der Hase

My name is Marc Maria, I have French nationality and I come from west Africa.
I moved to Berlin to avoid the political turmoil my citizenship country is sinking in, it looks like a hopeless situation.
In today's news "thinking" is a privilege and stupidity on the rise ;
Nonetheless my biggest influence is coming from poverty, not from being a privileged white man.
I believe in recycling and mixed practice and I am very interested in what happens with high technology the moment it becomes obsolete.
When I had my first toys I was more interested in what makes them function than playing with them, the pieces inside also looked 
like jewels, insects, the thin copper threads, the resistors, the transistors, the colored lights.
Working in the fashion industry I started to collect studio an printing equipment.
I was able to do so because the rush towards novelty is part of advertising, the latest model is a proof of success and the leftovers looses
it's value fast. One winner makes us all losers.
So I got very valuable things for a fraction of their original price and being a rogue engineer I had fun making them run again and now I hope I will have fun using them, the newest equipment is from the mid 90', a perfect balance of monster electronics and peak analog tech.

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Marc

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