2026
*Shortlisted for BUAT CURATORIAL AWARD
Buat Fine art gallery, Barcelona.
‘Marie Louise Elshout creates a distinctive visual world where human, animal and mythological forms merge into hybrid figures of memory, transformation and symbolic ambiguity. Her works combine pencil, charcoal, acrylic, oil and organic materials, producing images that feel at once historical, theatrical and strangely contemporary. Drawing on portraiture, vanitas, fairy-tale imagery and animal symbolism, Elshout stages figures that challenge fixed categories of identity and species. Works such as Vanitas#9, Hybrid#16 (Octopuses), Hybrid#22 (MegaBat), Hybrid#23 (Wolf) and Hybrid#9 (Xōlōitzcuintles) reveal a mature artistic language rooted in metamorphosis, vulnerability and the unsettling beauty of the in-between. Her long exhibition history in the Netherlands and abroad further confirms the depth and consistency of her artistic practice.’
*Studio Visit by Dutch Mini Art Initiative, Juli 10th.
Wonderful studio visit with great artist Marie Louise Elshout in Rotterdam. The moment you step inside, you are struck by her impressive paintings, ranging from intimate works to monumental canvases. Female figures, animals, landscapes, and above all, an enigmatic light that seems to move from the background towards the foreground. Her images evoke both a sense of familiarity and of mystery at the same time. It is a paradox that Marie Louise gradually unravels as we are viewing and discussing her paintings. Humans and animals, she explains, are not as far apart as we often imagine. Don’t we all possess darker, more instinctive, animal qualities? And don’t animals, in turn, reveal something profoundly human—gentleness, kindness, and compassion? More often than not, one flows seamlessly into the other.
Marie Louise originally specialised in drawing and etching at the Willem de Kooning Academy, before gradually introducing oil paint into her practice. Perhaps this explains the extraordinary structure and refinement of her canvases. She also shared her admiration for nineteenth-century Romanticism, particularly the work of Caspar David Friedrich. She spoke warmly about the formative period she spent studying in the United States, where she embarked on a journey to explore the origins of the country’s diverse immigrant communities living close to nature. These experiences continue to echo throughout her work. I feel especially grateful for the exquisite small painting she created for the Dutch Mini Art Initiative. A cottage nestled within an untouched forest, enveloped by a mysterious, luminous light. To me, it represents a place of refuge—a safe haven to retreat to from time to time.
Marie Louise is represented by Janine Bean Gallery Berlin. And we are fortunate that her paintings can soon be admired at BIG ART Rotterdam this September, followed by the exhibition ‘Leef Surrealisme’ at the Wereldmuseum Rotterdam.
Marie Louise, thanks for your warm hospitality and sharing your beautiful works of art. 💛✨
*”Carrying the Songs”, Pulchri Studio Juli.
*The Space Between, on view from July 3 to August 15, 2026, With works by Maxwell Dunlop, Marie Louise Elshout, Armando Mariño, MASCH and James Johnston, brings together international artistic positions from the United States, Cuba, the Netherlands, Great Britain and Germany.
*Noire Journal “Layers”.
“We find your work very intriguing, outstanding, and visually captivating. There is a particular quality to it, a kind of magnetic presence that draws the viewer in and holds their attention.”
*Opening WTC Art Gallery Rotterdam, March 8, International Womens day.
2025
*Review Berliner Morgenpost November 2025.
*Jackalopes publication GNKK 2026.
* BSPOQUE MAGAZINE BERLIN.
Q & A Marie Louise Elshout: Hybrids Between Human and Nature
29/10/2025
Marie Louise Elshout’s 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.
Can you tell us about your path into art? How did drawing and painting become the core of your practice?
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.
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.
You work in both drawing and painting, blending the two seamlessly. How did this authentic connection between the mediums develop for you?
Originally, I am a printmaker, it’s more linear, which I am good at. I am not a painter but I always wanted to be one – at the academy it frustrated me. I had a photography exhibition in Amsterdam in 2001, titled „Stillleben Tote Hand, könnte ich nur Malen“, talking about Romanticism…
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 ‘was old fashioned’ and ‘not done anymore’ in the art world.
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’s on canvas people call them paintings but they are actual drawings.
Your works explore the ambivalent relationship between humans and animals. What drew you to these dynamics?
It’s 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.).
It’s 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 – just what Joni sang…
Why do you often situate your hybrid creatures in 19th-century historical settings inspired by daguerreotypes?
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.
I didn’t 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.
I feel the 19th century is such an inspirational era: all these industrial developments but also the last strings to the old world.
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.
The landscape in your work is not just background, but often a protagonist. What role does landscape play in your narratives?
Nature is what makes us, it tolerates us human beings, I am in great awe of our beautiful planet earth and all it’s splendor and I want to show that as often as I can.
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?
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.
Fairytales are a different subject, they deal with the subconscious and secret desires.
Do you see your hybrid beings as mirrors for human society? Or more as independent entities with their own symbolic life?
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’re watching a human being dressed up with a mask or a primate wearing a dress. It’s the ambivalence that makes it interesting.
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.
Your works invite viewers to reflect on their relationship to nature. Do you see art as a tool to awaken ecological or social awareness?
Artists are the mirror to society. I believe it’s an artist’s obligation to create awareness. Too bad nowadays with all the renewed prudery a lot is censored these days.
I am very disappointed that our present world is still ruled by narcissistic world leaders and genocide is happening all over again. Don’t 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.
What can visitors in Berlin expect to discover in your works in the exhibition at janinebeangallery?
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.
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.
*Review BSPOQUE MAGAZINE BERLIN.
Janine Bean Gallery: „Dreams of the Seen and Unseen“
28/10/2025
7. November 2025 – 3. Januar 2026
Vernissage: 7. November 2025, 18 – 22 Uhr
janinebeangallery | Torstraße 154 | 10115 Berlin
Mit der Ausstellung „Dreams of the Seen and Unseen“ präsentiert die janinebeangallery ab dem 7. November 2025 eine Gegenüberstellung der künstlerischen Positionen von Marie Louise Elshout und James Johnston.
Marie Louise Elshout
Die niederländische Künstlerin Marie Louise Elshout (geb. 1967 in Delft, Niederlande) verbindet in ihrem Werk Zeichnung und Malerei auf einzigartige Weise. Ihre Arbeiten stammen ursprünglich aus der Druckgrafik. Sie entstehen aus hunderten fein gesetzten Bleistift- und Kohlestiftlinien. Diese Linien verdichten sich durch transparente Ölschichten zu farbigen Bildwelten.
„Auf den ersten Blick wirken sie wie Gemälde, doch eigentlich sind es gezeichnete Kompositionen“, beschreibt Elshout ihren Prozess. Inhaltlich bewegt sich ihr Werk im Spannungsfeld zwischen Mensch und Tier, Führenden und Folgenden, Maskerade und Verwandlung. Inspiriert von Daguerreotypien des 19. Jahrhunderts greift Elshout historische Bildräume auf, in denen industrielle Modernisierung und alte Mythen noch nebeneinander existierten.
Ihre hybriden Gestalten reflektieren Folklore, Märchen 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. „Wir sind nur Sternenstaub, wie Joni sang“, sagt Elshout, „und doch verhalten wir uns, als stünden wir über allen anderen Lebewesen.“
Verborgenes, Traum und Realität, Geschichte und Gegenwart
Im Zusammenspiel mit den Werken von Marie Louise Elshout entsteht ein intensiver Dialog. Elshout reflektiert mit präziser 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.
„Dreams of the Seen and Unseen“ zeigt zwei künstlerische Positionen. Diese verweben Sichtbares und Verborgenes, Traum und Realität sowie Geschichte und Gegenwart. Die Ausstellung lädt ein, in diese Zwischenwelten einzutreten.
Mehr Infos zu der Ausstellung findet ihr auf der Website der janinebeangallery.
*”Dreams of the Seen and Unseen”, November 7th-Januari 3rd 2026, Berlin.
*”The BodyWorx”, 5 September t/m 21 September, Ghent.
*’Every Cloud has a Neon Lining’, 13 september t/m 12 oktober 2025.‘s-Hertogenbosch.
*Hybrid#14, has been selected for ‘De Grote Nederlandse Kunstkalender’ 2026.
*NordArt Cataloque, exhibition 6 June – 5 October 2025, Büdelsdorf, Germany.
*Publication Suboart Magazine, May Issue, Lisbon.
*IN YOUR FACE 2.0, 27 maart t/m 27 april, 2025, studio 2, de Doelen art, Rotterdam.
*Publication in Volume II (blue), the virtual exhibition 25 years of Galería Artelibre, Zaragoza, Spain.
*Work selected for NordArt 2025.!
2024
*Launchparty Grote Nederlandse Kunst Kalender 2025.
*29 Maart, jurylid Jacob Hartog Prijs, Pulchri Studio Den-Haag, 2024.
2023
*December, Publicatie, Het Grote Aanschouw-boek.
*November, Publicatie, “Golden Toad”, Grote Nederlandse Kunstkalender 2023.
# Oktober, Publication Inspirational Art Magazine.
2021
#Publicatie Publieke werken.
2020
#Recensie, Brabant Cultureel, ‘Lucas Gassel Revisited’, Anja van den Akker.
#Interview Omroep Helmond tv “Lucas Gassel Revisited”, Maartje Vos-Swinkels.
#Recensie, expositie “Lucas Gassel Revisited”, “Gassel anders gezien”, Eindhovens Dagblad, Rob Schoonen.
2019
#Recensie, Hochtaunus Verlag, Bad-Homburg.
#Publicatie, Art Kaleidoscope, Kunstmagazin für Frankfurt und Rhein-Main.
#Recensie, der Frankfurter Neue Presse (Taunus-Zeitung), “Bronzen in Bademoden”, Martina Driesbach.
#Publicatie Louise Magazin, Bad Homburg, Duitsland.
2017
#Cover & Interview ‘WOODLANDS’, Pulchri Magazine, Margreet Hofland.
2016
#Interview, If then Is Now, De wereld van de Rotterdamse Kunstenaar, Walter van Teeffelen.
#Nominated for the Jacob Hartog Price 2016.
Het Juryrapport van de Jacob Hartogprijs 2016
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.
2015
#Schilderijen te zien/gebruikt voor de speelfilm ‘J.Kessels’ van Erik de Bruyn.
#Recensie, “Brugse kunstenaars hebben NO MORE SECRETS”, Brugse Gazet.
#Recensie, “NO MORE SECRETS”, Exit magazine, Brugge, Luc Fossaert.
#catalogus NOCTURNE, “De donkere kant van de schoonheid”Museum Gouda.
2014
# Recensie, “De donkere kant van de schoonheid”, Algemeen Dagblad, Daniëlle Verweij.
#Interview Pandora Magazine voor kunst en literatuur, “De kunstenaar als sjamaan”, Ruud vermeer.
#Publicatie, “Ten Words And One Shot”, auteur Kevin Krumnikl.
#Recensie, “Banale stillevens en enge bossen”, Eindhovens Dagblad, Rob Schoonen.
2013
#”Wie vond de zondeval uit”, artikel PZC Vlissingen, Nico Out.
#Publicatie, “Attraction of the Opposites”, auteur Kiki Petratou.
2012
#REX, Alumni magazine Willem de Kooning Academy.
2011
#Recensie,’Tegen de pixaladepten’, De groene Amsterdammer, Paul Kempers.
2007
#Publikatie, Blend guerilla, Amsterdam.
#Schilderijen te zien/gebruikt voor de speelfilm ‘Nadine’ van Erik de Bruyn.
2006
#Recensie, ‘Reuzenplant rijst op uit stadion’,Financieel Dagblad,
Edo Dijksterhuis.
#Recensie, ‘Dreiging van de natuur als inspiratie’, Rotterdams Dagblad, Marjorie Tjon A Fong.
2005
#Recensie, ‘Momentopnames van de eeuwigheid’, Rotterdams Dagblad.
2004
#Recensie, ‘Natures Mortes’, Bulbe magazine, Frankrijk.
2003
#Interview, Rotterdams Dagblad, Sandra Smets.
#Recensie, Rotterdams Dagblad, Marieke Kolet.
#Interview, ‘Vernis’, T.V.Rijnmond.
2002
#Publikatie, Rotterdams dagblad.
#Interview, televisieprogramma, ‘Opium t.v.’ AVRO.
2001
#Interview, Rotterdam R’uit magazine, Sandra Smets.
#Publikatie, Het Parool.
2000
#Interview, Rotterdams Dagblad, Maartje van den Heuvel.
#Recensie, Circa Art magazine, Engeland.
#Publikatie, NRC Handelsblad.
1999
#Interview, televisieprogramma ’De Ochtenden’, AVRO.
#Interview, Rotterdams Dagblad, Canis Zijlmans.
#Recensie, Het Parool, Maartje den Breejen.
#Recensie, De Volkskrant, Anne van Driel.
#Interview, De Havenloods, Len Visscher.
#Recensie, Rotterdams Dagblad, Marc Floor.
#Interview, televisieprogramma ‘Bellissima’, Amsterdam.
#Talkshow, ‘Passionate’, RO theater, Rotterdam.
1997
#Recensie, “Zwanenzang Complex 7” Haagse Courant, Roos van Put.
1996
#Publicatie, Agenda van verlangen.
