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Colour of time von John K. Grande
Marion Albrecht's colours generate an earthy energy. Painterly and animated her artworks awaken a dream-like sequence of transitory and ephemeral narratives on life. As gestural expressionist textured paintings they embody a strong illusionistic and transformational pre­sence. It's a presence that exists in the human con­scious­ness. It`s an essence!
Figuration and colour merge or diverge, and always suggest a story. And these stories are like memories, so personal and symbolic.
These paintings are spiritual and process oriented as immediate in their effect as a song. Albrecht's paintings bring us to a point of consciousness and her visual dialogue embraces male and female archetypes simultaneously…
Sometimes we see enigmatic and gestural paradoxes in these paintings , the ghosts of other places, other times, and then suddenly they express something intimate an inner harmony and unity. Albrecht's paintings inhabit a cultural and archetypal space that draws on personal experience. These paintings are filled with dreams of the earth, and expectations of a relatedness to something larger than ourselves, perhaps ancient but equally familiar and understandable.
Albrecht's painting is a cry for respect for the integrity and cultural survival of all the peoples of this earth. These expressionistic paintings, each so different, represent micro-stages in a growing body of work Albrecht is developing that is not tied to historical or post-historical tautologies or the grammar of contemporary fashion...
John K. Grande

Colour of Time, 70x100cm, acrylics on canvas, 2016



In the work of Marion Albrecht, we have observed for years a commitment to the realities that surround her and to nature, she is an artist sensitive to the events of the world. In this series she is an interpreter of environmental art that she has initiated in many of her previous works on ecology and the environment, in concepts and in a set of plastic experiences, raised in a vital and clear language with which she expresses herself.
In this group of works, Marion uses a series of peculiar symbologies that adapt to figurative - abstract forms that she uses: faces and female bodies transformed into trees that cry for freedom, silence and peace, acts in which they must be protected and conserved. That is what I feel in each work, these images express much of their proper concerns and personal visions. It is difficult to make an approach on the theme of nature, especially when you want to denounce, pose or solve the disasters that the ecosystem now suffers. The landscapes have always served for the recreation of the beauty that fascinates nature, that is, the landscape as a genre; but this has gone down in history, now the vision is different, they are other realities. Now the contamination, the merciless exploitation of soils, the new phenomena of geodynamics, mining exploitation, lack of water, etc. are observed. All this is becoming symbolic forms in the new work of Marion, to propose solutions and create collective awareness about these problems.
Marion paints her imaginary flashing, displaces the plastic forms by constructing - with layers of color films that she prepares previously - and finding the precise lace of the forms as if they were foliages that are placed on her canvases. This series is composed of phrases dedicated to nature, as if the trees spoke and the faces said the same thing, because she is faithful to herself with implacable desire to express herself.
I like Marion's creative freedom, she is not tied to any stereotype or style, she lets her creative mind and hand move through the canvas, and on the way she leaves the brushstrokes and color clean. It is her own poetry that transforms into the language of the trees, which cry out, that ask for peace and protection; she paints the barks and the branches as if they were their pain next to some face interspersed with the trunk, birds that are tied to the trees because they are a lair or property of them under a distant moon. These are incomparable color forms that surround the central theme. When she has arrived at what she wants to express, she stays there, no other element enters, the poem and the pictorial work are accomplished.
This collection brings us closer to these "landscapes" of nature, or rather to another reality of the landscape, managed with the rigor of a painter who always experiences new languages and themes, as in this case. Who is involved to convey the importance and urgency of keeping our natural heritage clean, because nature will continue to be a claimant theme and illumination of artists.
MARION ALBRECHT: Congratulations for your commitment and the action of supporting the defense of nature, few do, and this responsibility is valuable in a person like you who maintains the cultural debate.

Manuel Gibaja, Cusco,Peru