{"id":530,"date":"2014-12-31T20:06:34","date_gmt":"2014-12-31T19:06:34","guid":{"rendered":"http:\/\/marielouiseelshout.com\/?page_id=530"},"modified":"2026-04-28T11:25:45","modified_gmt":"2026-04-28T09:25:45","slug":"press","status":"publish","type":"page","link":"https:\/\/marielouiseelshout.com\/?page_id=530","title":{"rendered":"PRESS\/NEWS"},"content":{"rendered":"\n

202<\/strong>6<\/p>\n\n\n\n

*Online exhibition, “LAYERS”, Noire Journal.org, 27 April \u2013 27 May 2026<\/p>\n\n\n\n

*Opening WTC Art Gallery Rotterdam, March 8, International Womens day.<\/p>\n\n\n\n

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Photo\u00a9Jacqueline Fuijkschot.<\/figcaption><\/figure>\n\n\n\n

2025<\/strong><\/p>\n\n\n\n

*Review Berliner Morgenpost November 2025.<\/strong><\/p>\n\n\n\n

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*Jackalopes publication GNKK 2026<\/strong>.<\/p>\n\n\n\n

\"GNKK2026\"<\/a>
GNKK2026<\/figcaption><\/figure>\n\n\n\n

* BSPOQUE MAGAZINE BERLIN.<\/p>\n\n\n\n

Q & A Marie Louise Elshout: Hybrids Between Human and Nature<\/h5>\n\n\n\n

29\/10\/2025<\/p>\n\n\n\n

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Marie Louise Elshout\u2019s works will be on view from November 7, 2025, as part of the exhibition Dreams of the Seen and Unseen at janinebeangallery, Berlin.
The viewers are invited into a world where the boundaries between human and animal, reality and imagination, dissolve. In this Q&A, Elshout discusses her artistic journey, the evolution of her practice, and the themes that permeate her work.<\/p>\n\n\n\n

Can you tell us about your path into art? How did drawing and painting become the core of your practice?<\/strong><\/h5>\n\n\n\n

I studied at the Willem de Kooning Academy in Rotterdam as a printmaker. After my graduation I started with photography and film as an experiment, as I wanted to explore all aspects of the art world. I did performances with great musicians where I would sing and project my movie in the background.<\/p>\n\n\n\n

I also worked as an actress many times. But after a while I got bored waiting for the moment and rather wanted to make movies myself. After another film and performance project which cost a lot of money. I ran out of funding and I started to miss my autonomous art, the manual craft of it. <\/p>\n\n\n\n

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You work in both drawing and painting, blending the two seamlessly. How did this authentic connection between the mediums develop for you?<\/strong><\/h5>\n\n\n\n

Originally, I am a printmaker, it\u2019s more linear, which I am good at. I am not a painter but I always wanted to be one \u2013 at the academy it frustrated me. I had a photography exhibition in Amsterdam in 2001, titled \u201eStillleben Tote Hand, k\u00f6nnte ich nur Malen\u201c, talking about Romanticism\u2026<\/p>\n\n\n\n

In 2005 I finally took the plunge and just started to work on canvas with drawing, it felt liberating. While others took me for a fool since my photography projects were very successful at the time and painting \u2018was old fashioned\u2019 and \u2018not done anymore\u2019 in the art world. <\/p>\n\n\n\n

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On closer inspection my images are built up from hundreds of pencil lines and charcoal shades. I loose myself in this process, drawn from my subconsciousness. When I feel I can no longer continue this process I start the transparent oil layering for more depth and add colour, which is much more a technical phase and since it\u2019s on canvas people call them paintings but they are actual drawings. <\/p>\n\n\n\n

Your works explore the ambivalent relationship between humans and animals. What drew you to these dynamics?<\/strong><\/h5>\n\n\n\n

It\u2019s a concept that has developed during the years. I get a lot of inspiration from movies, (David Lynch, Cronenberg, etc.), music (PJ Harvey, 16 Horsepower, etc.) as well as literature (Steinbeck, Ian McEwan, etc.). <\/p>\n\n\n\n

It\u2019s typical how humans behave, we always feel so superior to all other living beings around us, but essentially we are a mere glimpse in history on this planet, we are stardust \u2013 just what Joni sang\u2026 <\/p>\n\n\n\n

Why do you often situate your hybrid creatures in 19th-century historical settings inspired by daguerreotypes?<\/strong><\/h5>\n\n\n\n

In my last year at the Willem de Kooning Academy I got the opportunity to do my semester in Baltimore at the Maryland Institute College of Art.<\/p>\n\n\n\n

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I didn\u2019t attend much classes since I was much more fascinated by the people and the surrounding itself, it is such a beautiful country but holds such a dark history. <\/p>\n\n\n\n

I feel the 19th century is such an inspirational era: all these industrial developments but also the last strings to the old world. <\/p>\n\n\n\n

Starting point for my paintings are these daguerreotypes, found on an online library based on pioneers, all nationalities who came to America, the promised land. <\/p>\n\n\n\n

The landscape in your work is not just background, but often a protagonist. What role does landscape play in your narratives?<\/strong><\/h5>\n\n\n\n

Nature is what makes us, it tolerates us human beings, I am in great awe of our beautiful planet earth and all it\u2019s splendor and I want to show that as often as I can. <\/p>\n\n\n\n

Your creatures are not anthropomorphic in the usual sense. Instead, you draw on folklore, superstition, fairy tales, and traditions. What fascinates you about these sources?<\/strong><\/h5>\n\n\n\n
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I am fascinated by the way human beings act, so learning about folklore is part of that, all tribes and populations have their own rituals, traditions and believes.<\/p>\n\n\n\n

Fairytales are a different subject, they deal with the subconscious and secret desires.<\/p>\n\n\n\n

Do you see your hybrid beings as mirrors for human society? Or more as independent entities with their own symbolic life?<\/strong><\/h5>\n\n\n\n

I guess both. I want to draw attention with them but they also have their own presence and beauty. They are about transformation, you never know if you\u2019re watching a human being dressed up with a mask or a primate wearing a dress. It\u2019s the ambivalence that makes it interesting.<\/p>\n\n\n\n

They also portray a journey through the subconscious, which I think is essential these days. People are connected with the outside world 24\/7 which often leads to disconnection and emptiness.<\/p>\n\n\n\n

Your works invite viewers to reflect on their relationship to nature. Do you see art as a tool to awaken ecological or social awareness?<\/strong><\/h5>\n\n\n\n

Artists are the mirror to society. I believe it\u2019s an artist\u2019s obligation to create awareness. Too bad nowadays with all the renewed prudery a lot is censored these days.<\/p>\n\n\n\n

I am very disappointed that our present world is still ruled by narcissistic world leaders and genocide is happening all over again. Don\u2019t get me wrong I am a very positive, optimistic person but we humans never seem to learn. But behind every cloud there is a neon lining. <\/p>\n\n\n\n

What can visitors in Berlin expect to discover in your works in the exhibition at janinebeangallery?<\/strong><\/h5>\n\n\n\n

The gallery has had a great foreseeing in showing the paintings of James Johnston and mine in a duo show, I admire him as a musician and an artist. <\/p>\n\n\n\n

I think our paintings resonate, they take you by the hand and guide you through a mythical world. I hope visitors will take their time to really explore our works and enjoy the journey. <\/p>\n\n\n\n

*Review <\/strong>BSPOQUE MAGAZINE BERLIN.<\/p>\n\n\n\n

Janine Bean Gallery: \u201eDreams of the Seen and Unseen\u201c<\/h5>\n\n\n\n

28\/10\/2025<\/p>\n\n\n\n

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Marie Louise Elshout Hybrid #18 (Unicorn)<\/figcaption><\/figure>\n\n\n\n

7. November 2025 \u2013 3. Januar 2026
Vernissage: 7. November 2025, 18 \u2013 22 Uhr
janinebeangallery<\/a> | Torstra\u00dfe 154 | 10115 Berlin<\/p>\n\n\n\n

Mit der Ausstellung \u201eDreams of the Seen and Unseen\u201c pr\u00e4sentiert die janinebeangallery ab dem 7. November 2025 eine Gegen\u00fcberstellung der k\u00fcnstlerischen Positionen von Marie Louise Elshout und James Johnston.<\/p>\n\n\n\n

Marie Louise Elshout<\/h5>\n\n\n\n

Die niederl\u00e4ndische K\u00fcnstlerin Marie Louise Elshout (geb. 1967 in Delft, Niederlande) verbindet in ihrem Werk Zeichnung und Malerei auf einzigartige Weise. Ihre Arbeiten stammen urspr\u00fcnglich aus der Druckgrafik. Sie entstehen aus hunderten fein gesetzten Bleistift- und Kohlestiftlinien. Diese Linien verdichten sich durch transparente \u00d6lschichten zu farbigen Bildwelten.<\/p>\n\n\n\n

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Marie Louise Elshout Vanitas #4 (M\u00fcnchen Albino Alligator) 90\u00d770 cm, Bleistift, Kohle und \u00d6l auf Leinwand, 2024)<\/figcaption><\/figure>\n\n\n\n

\u201eAuf den ersten Blick wirken sie wie Gem\u00e4lde, doch eigentlich sind es gezeichnete Kompositionen\u201c, beschreibt Elshout ihren Prozess. Inhaltlich bewegt sich ihr Werk im Spannungsfeld zwischen Mensch und Tier, F\u00fchrenden und Folgenden, Maskerade und Verwandlung. Inspiriert von Daguerreotypien des 19. Jahrhunderts greift Elshout historische Bildr\u00e4ume auf, in denen industrielle Modernisierung und alte Mythen noch nebeneinander existierten.<\/p>\n\n\n\n

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Marie Louise Elshout Hybrid#14 (Jackalopes) 120\u00d7120 cm, pencil, charcoal and oil on canvas, 2024<\/figcaption><\/figure>\n\n\n\n

Ihre hybriden Gestalten reflektieren Folklore, M\u00e4rchen sowie Rituale und damit zugleich die Ambivalenz menschlicher Gesellschaft. Die Landschaft fungiert dabei nicht als Hintergrund, sondern als handelnder Protagonist, der die fragile Beziehung zwischen Mensch und Natur hervorhebt. \u201eWir sind nur Sternenstaub, wie Joni sang\u201c, sagt Elshout, \u201eund doch verhalten wir uns, als st\u00fcnden wir \u00fcber allen anderen Lebewesen.\u201c <\/p>\n\n\n\n

Verborgenes, Traum und Realit\u00e4t, Geschichte und Gegenwart<\/h5>\n\n\n\n

Im Zusammenspiel mit den Werken von Marie Louise Elshout entsteht ein intensiver Dialog. Elshout reflektiert mit pr\u00e4ziser Zeichnung, historischen Anspielungen und mythisch aufgeladenen Hybridwesen kollektive Rituale. Sie beleuchtet die fragile Beziehung zur Natur. Johnston verdichtet existentielle Stimmungen zu expressiven figurativen Szenen. In diesen Szenen trifft das Mythische auf die Gegenwart. <\/p>\n\n\n\n

\u201eDreams of the Seen and Unseen\u201c zeigt zwei k\u00fcnstlerische Positionen. Diese verweben Sichtbares und Verborgenes, Traum und Realit\u00e4t sowie Geschichte und Gegenwart. Die Ausstellung l\u00e4dt ein, in diese Zwischenwelten einzutreten.<\/p>\n\n\n\n

Mehr Infos zu der Ausstellung findet ihr auf der Website der janinebeangallery<\/a>.<\/p>\n\n\n\n

*”Dreams of the Seen and Unseen”, November 7th-Januari 3rd 2026, Berlin.<\/strong><\/p>\n\n\n\n

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*”The BodyWorx”, 5 September t\/m 21 September, Ghent.<\/strong><\/p>\n\n\n\n

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*’Every Cloud has a Neon Lining’, 13 september t\/m 12 oktober 2025.‘s-Hertogenbosch<\/a>.<\/strong><\/p>\n\n\n\n

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*Hybrid#14, has been selected for ‘De Grote Nederlandse Kunstkalender’ 2026.<\/strong><\/p>\n\n\n\n

\"Hybrid#14<\/a><\/figure>\n\n\n\n
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*NordArt Cataloque, exhibition 6 June \u2013 5 October 2025<\/a>, B\u00fcdelsdorf, Germany.<\/strong><\/p>\n\n\n\n

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*Publication Suboart Magazine, May Issue, Lisbon.<\/strong><\/p>\n\n\n\n

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*IN YOUR FACE 2.0, 27 maart t\/m 27 april, 2025, studio 2, de Doelen art, Rotterdam.<\/strong><\/p>\n\n\n\n

\"About<\/a><\/figure>\n\n\n\n

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*Publication in Volume II (blue), the virtual exhibition 25 years of Galer\u00eda Artelibre, Zaragoza, Spain.<\/strong><\/p>\n\n\n\n

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*Work selected for NordArt 2025.!<\/strong><\/p>\n\n\n\n

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2024<\/strong><\/p>\n\n\n\n

*Launchparty Grote Nederlandse Kunst Kalender 2025.<\/strong><\/p>\n\n\n\n

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*29 Maart, jurylid Jacob Hartog Prijs, Pulchri Studio Den-Haag, 2024.<\/p>\n\n\n\n

\"Pulchri<\/a><\/figure>\n\n\n\n

2023<\/strong><\/p>\n\n\n\n

*December, Publicatie, Het Grote Aanschouw-boek.<\/p>\n\n\n\n

\"De<\/a><\/figure>\n\n\n\n

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*November, Publicatie, “Golden Toad”, Grote Nederlandse Kunstkalender 2023.<\/p>\n\n\n\n

\"Grote<\/a><\/figure>\n\n\n\n

# Oktober, Publication Inspirational Art Magazine.<\/p>\n\n\n\n

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2021<\/strong><\/p>\n\n\n\n

#Publicatie Publieke werken.<\/p>\n\n\n\n

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2020 <\/strong><\/p>\n\n\n\n

#Recensie, Brabant Cultureel, \u2018Lucas Gassel Revisited\u2019, Anja van den Akker. <\/p>\n\n\n\n

#Interview Omroep Helmond tv \u201cLucas Gassel Revisited\u201d, Maartje Vos-Swinkels. <\/p>\n\n\n\n

#Recensie, expositie \u201cLucas Gassel Revisited\u201d, \u201cGassel anders gezien\u201d, Eindhovens Dagblad, Rob Schoonen. <\/p>\n\n\n\n

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2019<\/strong> <\/p>\n\n\n\n

#Recensie, Hochtaunus Verlag, Bad-Homburg. <\/p>\n\n\n\n

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#Publicatie, Art Kaleidoscope, Kunstmagazin f\u00fcr Frankfurt und Rhein-Main. <\/p>\n\n\n\n

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#Recensie,  der Frankfurter Neue Presse (Taunus-Zeitung), \u201cBronzen in Bademoden\u201d, Martina Driesbach. <\/p>\n\n\n\n

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#Publicatie Louise Magazin, Bad Homburg, Duitsland. <\/p>\n\n\n\n

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2017<\/strong> <\/p>\n\n\n\n

#Cover & Interview \u2018WOODLANDS\u2019, Pulchri Magazine, Margreet Hofland.<\/p>\n\n\n\n

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2016 <\/strong> <\/p>\n\n\n\n

#Interview, If then Is Now, De wereld van de Rotterdamse Kunstenaar, Walter van Teeffelen. <\/p>\n\n\n\n

#Nominated for the Jacob Hartog Price 2016.<\/p>\n\n\n\n

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Het Juryrapport van de Jacob Hartogprijs 2016<\/p>\n\n\n\n

De jury bestond uit 4 kunstenaarsleden van Pulchri uit verschillende disciplines en de voorzitter van
de vereniging. Dit jaar zijn er meer werken ingeleverd dan vorig jaar toen waren het 167 werken en
dit jaar 212 werken. Door dit grote aantal kunnen we spreken van een heuse Salon. De werken
werden in alle rust bekeken en beoordeeld zonder naamsvermelding. Het bleek dat de uiteindelijke
keuze viel op totaal verschillend werk. De jury wil daarbij benadrukken dat het dit jaar geen
eenvoudige keuze was. Kunst brengt mensen in gesprek en dit ondervond ook de jury. Er is op
democratische wijze tot een uiteindelijke keuze gekomen.
De volgende kunstenaars zijn genomineerd:
Marie Louise Elshout (nr 42, Buffalo girl): Dit werk trekt het oog met een klassiek gegeven. Het is
mythisch verhalend. Het lijkt een samengestelde observatie. De bizon kop en boomstam zijn in hun
uitvoering al een prijs waard. De jury heeft waardering voor de mooie verdwijning samen met de
dieptewerking.<\/p>\n\n\n\n

2015 <\/strong> <\/p>\n\n\n\n

#Schilderijen te zien\/gebruikt voor de speelfilm \u2018J.Kessels\u2019 van Erik de Bruyn. <\/p>\n\n\n\n


#Recensie, \u201cBrugse kunstenaars hebben NO MORE SECRETS\u201d, Brugse Gazet. <\/p>\n\n\n\n

#Recensie, \u201cNO MORE SECRETS\u201d, Exit magazine, Brugge, Luc Fossaert. <\/p>\n\n\n\n

#catalogus NOCTURNE, “De donkere kant van de schoonheid”Museum Gouda.<\/p>\n\n\n\n

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2014<\/strong> <\/p>\n\n\n\n

# Recensie, \u201cDe donkere kant van de schoonheid\u201d, Algemeen Dagblad, Dani\u00eblle Verweij. <\/p>\n\n\n\n

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