Marie Brenneis (born 1970) is trained in Fine Art, Photography and Choreography.
Marie is interested in taste and established western notions of beauty and in how things are visually arranged, ordered and grouped together.
Her complex playful practice is made up of colour and placement; Her strategically planned placements frequently employ placement assemblage/overlaying and colour in order to explore the potential of misinterpretation and misunderstanding. She is interested in creating a rupture in seeing and looking.
Her work is often built up of opposites, creating a visual tension where oppositions are sensationalised and heightened, causing a rupture that liberates boundaries. She likes to put objects together that are not normally associated with one another, to create something that is playful and disturbing at the same time. She places softness with severe, bright with dull, light with dark, maximalism and minimalism, logical with illogical, order with chaos. Creating paradoxes that assert that opposites can live together not apart.
Brenneis uses colour to un-categorise space, objects, shapes.
Marie is also interested in how a painting can appear in the world not flat. She is a painter who refuses to paint on a canvas. Her large-scale work tends to take up space and space becomes a kind of unconventional zone, she is looking to put the tensions of the space together to create new possibilities and alternatives of how space could be.
Brenneis’s output includes sculpture, painting, installation dance and performance. A stint of being a Stand-up comedian, wrong and humour also plays a big part in her oeuvre.
"The Rules are in your head" (2013), consists of 100 aqua coloured green gnomes and a giant pink fish, the gnomes were placed in an army type style around the fish, the fish represented being some kind of leader, the gnomes represented society. A small minority of the gnomes were lying down, facing backwards, upside down, tilted; this created a disruption for the viewer, which resulted in the audience trying to place the gnomes in the ordered way, standing straight, facing forward, like the majority of the gnomes. The audience was a put through a social interactive experiment; the unordered and chaotic gnomes made the viewers uncomfortable.
Her art works are full of psychological drama which are dark but also playful. This combination of darkness and playfulness is acted out within her performance pieces and art objects. The viewer needs to have an open mind when comprehending the imaginative freedom, she is offering’. Paulina De’Souza (Director of Diversity Art Forum) 2018