Page 54 - Masters

master

MARCEL PINAS

Lives and works in Suriname

SEARCH THE ARTIST ONLINE www.marcelpinas.nl

Preserve the culture: Marcel Pinas, is a descendant of the N’dyuka maroons sometimes distorted implements were displayed at the Sanfika exhibition:
of Surinam, also known as the Aucaners. His art is about experiences from a grotesquely elongated ‘wasuma’ (washboard) and an absurdly high stool.
the past, it deals with the destruction of the N’dyuka culture in Surinam. Other showpieces at this talked-about exhibition were huge kitchen shelves
In his work he expresses that situation, also by paying attention to the and iron cages with implements inside. His critical view of society was
protection of cultures in general: kibri a kulturu’ or ‘preserve the culture’. clearly visible in a series of mixed-media works in which aluminium spoons
So this theme is the soul of the work of Marcel Pinas: “The symbols that symbolize the nation that sinks deeper and deeper under the red thread of
play a role in my work are the motifs that are used by the N’dyuka”. Pinas’ values. ‘Sanfika’, the name of the exhibition means ‘what is left? That is the
canvasses, which make up the principal part of his work, underline his question Pinas seems to ask himself, but also his audience, with increasing
intention to preserve elements from the N’dyuka culture also in the present intensity. And even more: how do we handle what is left?
day. Colours, which generally have their origin in Surinam’s multi-coloured The public: The opinion of the audience is important to Marcel Pinas only
nature, are liberally applied to the canvas. Significant symbols, parts of to the extent that he feels that art must evoke a response; it has to stir
implements, pieces of fabric: there is always something extra in the work up interest in the audience. Art is a means of communication for Pinas:
of Marcel Pinas. The wealth of the culture is reflected by the canvas and ‘I live in society, I am part of it. My personal feeling on this is what I try to
leaves its mark on the ‘objets d’art’. express and for that I use my art. The dialogue with society that Marcel
Beyond the canvas: In the past few years Pinas’ growing need to no longer Pinas has entered into is an ongoing one. His theme may be constant, but
limit himself to the canvas, but to make increasingly large installations the dynamics of society keep Pinas’ creative spirit permanently in motion,
has become visible. Initially this was expressed in ‘something extra’ at thus ensuring the audience of an always fascinating body of works that
the regular exhibitions. In 2003, for example, he used large parts of a surprises you over and over again. Pinas: ‘The work becomes richer every
dugout as a showpiece at the Tembé exhibition. In 2005, blown up and time. You basically...

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masters of today