Truth hurts. Since 2008 van der Grijn has been working on the subject of death. Her practice deals with unraveling the complexities associated around the culture of death and reconstructed memory, researching the myth of repressed memory, re-imagining and process all become part her narrative, understanding the rational, social and emotional circumstances that become constructed around memory and time. RECONSTRUCTED MEMORY (2016). The process of her studio practice is multifaceted. This is demonstrated through painting, film, installation, sculpture, audio and writing, which all deal with the reconstruction of time + memory. Fact and fiction. A construct rather than a deconstruct.
In JUMP (2018) van der Grijn asks what are the memories between the transitional period of jumping + hitting the water when life becomes momentarily suspended. When viewed from our typical perspective of being within and perceiving the world according to linear time, the period of a jump, between the precipitation of the action and the landing, the splash, happens in an instant; and from this perspective, not much can ‘happen’ in an instant. This is the effect of forgetting that linear time is a projection, a construct that the mind creates to make it possible to self-identify and exist in the world.
This is the paradox at the foundation of the experience of being in the world: the need to deny ontological reality to self-identify and to exist, juxtaposed with the deep yearning to know the truth of this ontological reality so as to know the whole truth, the truth of our essential being.
“In more than one way the art of painting. Of creating, of filmmaking has helped me redeem the control of my life. It gives me strength to break barriers and follow an unconventional path. I want to be free of limitations, whilst learning and producing work. My art motivates me and gives me the passion for following this ambition. Filmmaking is a passport to seeing the changing world. It broadens international and intercultural perspectives. Experimental film is a magnificent visceral mixture of sight and sound, more so than any other art form in terms of pure expressionistic potential. With my practice as a painter + experimental film maker, I can express emotions, ideas and concepts through literal and abstract imagery, through juxtaposition editing and the creative use of sound design.
It is my intention with paintings and film, to create a space, the space between now and then. Exploring the dynamism of emptiness in a realm where time and space are altered. Past, present and future are considered in the gaps in-between, blurring the boundaries between fact and fiction. In film, my characters will emphasise the unstable, vulnerable and emotional states of mankind, with prominence on dreamscapes and mindscapes. A fantasy world, an abstract/oneiric land which is both cinematically beautiful and psychologically disturbing. A world that explores significant topics such as death, loss, love, isolation, mental health etc. With paint I have always worked intuitively, with impulsion. Within the genre of experimentation I want to explore entirely new ways of painting with the aim of innovating my practice.
Paintings signify a process orientated philosophy engaging the viewer with the concept of deconstruction. Demonstrating uncoordinated compositions.”