Northsea, recent publication of my paintings made during 2020 Lockdown

NORTH SEA Marcelle Hanselaar

NORTH SEA Marcelle Hanselaar

… a mandarin fell in love with a courtesan.

“I shall be yours” she told him, “when you have spent a hundred nights waiting for me, sitting on a stool, in my garden, beneath my window.” But on the ninety-ninth night, the mandarin stood up, put his stool under his arm, and went away.

Roland Barthes, from A Lover’s Discourse, Fragments

WHEN I WAS A CHILD I lived with my family in Scheveningen close to the North Sea. From our home, you only had to cross the street, cut through the sand dunes and walk The Black Path to get to the beach.

One day, a tower appeared in the dunes, close to the path.

Nobody knew why it was there, or what the tower was for.

However unintentional, it became an orientation point in these shifting dunes.

I rarely think about my past, nor do I long for it. Sometimes though, images connected with the North Sea flash through my mind unexpectedly. The memory of walking the lonely path through the dunes, always accompanied by a blustering salty wind, merges with the recent loss of my sister and the scattering of her ashes out there.

During the recent lockdown, I lived in total isolation in my studio. I existed in a limbo of suspended time.

In that dreamlike state, the past and the present became indistinguishable, overlapping and receding like the tidal movements of the sea. Apart from daily walks, my only reality existed in painting.

Most of the images conjured up took the severe North Sea as its setting. These paintings evolved in a sequence of scenes of rituals through which I tried to give form to events too complex to describe or to digest as a whole.
Although this series need not necessarily be seen in the sequence that they were painted, together they form a rolling narrative of a transitional journey.
MH

LAURA GASCOIGNE

North Sea

“I belong here so much and I did not know that I loved the sea to such a point,” wrote Léon Spilliaert in 1922 after a three-year absence from his native Ostend.

“I am living in a real phantasmagoria… All around me, dreams and mirages.”

her work. As if embarrassed to speak on the world’s behalf, she has always held her meanings close to her chest; in previous paintings and prints, they were wrapped in riddles that were hard for the viewer – perhaps even the artist – to unravel.

Spilliaert hadn’t gone far, only to Brussels.

Hanselaar has travelled the world, under different guises: a sadhu in India, a part-time gardener in London, a teacher of painting in Chongqing, and finally a full-time painter and printmaker back in London, where she has kept the same studio for 40 years. In all that time she rarely thought of North Sea coast, where she spent her youth until the age of 19 in Scheveningen. But two recent events conspired to bring the memory back: the death in February 2019 of the older sister she shared that youth with, and the opening of a Spilliaert show in London a year later.

Her fondness for carnivalesque motifs and costumes places Hanselaar’s art firmly in the Northern European tradition of the bawdy, the rambunctious, the arsy-versy. There are no Brueghelian figures urinating, defecating or vomiting in margins of her paintings, though one would not be altogether surprised to find them. The Hanselaar of old was a mistress of misrule. But in recent work, though the old motifs appear – dogs, monkeys, slave boys, hoodlums in Homburgs, prisons, smoking chimneys, beds of nails, colanders – they are no longer accessories to “those solitary enactments between us and the beast where playing can easily be with fire” that made earlier exhibitions like The Weight of Smoke (2007) so disturbing. The fire has been tamped down, and the witch’s familiars no longer have power to control the action by threatening or seducing the female protagonists. In this new body of work we feel, for the first time, that the women are mistresses of their fates. After testing in the fire, they have emerged

Hanselaar’s art has never been overtly personal; it is raw but rarely self-revealing. The titles of previous exhibitions and print cycles – Biting the Bullet (2010), We Are All Bleeding (2012), The Crying Game (2017) – might lead one to expect Tracey Emin-like misery memoirs, but it’s Virgil’s universal ‘lacrimae mundi’ – the ‘tears of the world’ – that are shed in

surer of foot and lighter of spirit. The weight of smoke has been lifted.

You sense it at once in the body language. The lone female protagonists of earlier paintings were literally introverted, holding pillows or clipboards to their chests, crossing arms or folding hands defensively in their laps. The hands were the giveaway: palms habitually turned inwards, clutching, shielding, covering nakedness. The subjects of the “inside-out portraits” in The Weight of Smoke and Walking the Line (2013) are oppressed by a physical lassitude tinged with fear – of others, of themselves, of the dark, of whatever horror might lie around the corner. In the catalogue to Walking the Line, Hanselaar quoted André Malraux: “Force them to understand that they are living in an unsettling world, a world that is not reassuring, a world that isn’t what they think it is.” That realisation is dawning in these pictures, and their subjects are facing it alone. But this sense of oppressive solitude is surprisingly absent from the pictures painted during the enforced isolation of lockdown. The change is visible in the expressiveness of the hand gestures, which now perform a graceful kind of mime. The women in these new works have taken matters into their own hands; no longer puppets in the hands of fate, they are assuming control of their destiny.

After her sister’s Elena’s death, Hanselaar didn’t work for eight months. It was not until September, when Elena’s ashes were scattered in the sea off Scheveningen, that she put brush to canvas. The first series of paintings to emerge, At the Oracle of Limbo, seems at first sight to continue the themes in Walking the Line, with their ritual gatherings of figures in desert landscapes centring on baldacchino-like canopies inspired by Veronese’s Allegory of Wisdom and Strength. At 4ft high, these canvases are the biggest Hanselaar has ever painted. In all four pictures, set in a desert at night, a veiled sybilline figure seated under the canopy is approached by a supplicant in search of answers. In the first painting, the supplicant approaches gingerly with the gift of a flask; in the second she performs a placatory dance; in the third she squats, with hair in sadhu-like

dreadlocks, holding a propitiatory bowl of milk.

In the last, frustrated by the sybil’s silence and immobility, she reaches out sacrilegiously to lift her veil. She has not heeded the repeated warnings of the sybil’s attendants with their ‘No Entry’ street signs; she refuses to take no for an answer. But the sybil holds up two palms like a traffic cop: Nothing doing. “If you ask the wrong question,” Hanselaar explains, “the answer will be wrong for your needs. You think the situation has to change rather than you, but you have to change and find the answer in yourself.”

At this point, as if resigned to not getting answers, Hanselaar herself changed artistic direction; the paintings that follow are in a different register.

There was nothing conscious about this change; she never plans her pictures. “I don’t have a sense of what I’m going to paint. I draw formless things out of me and as soon as I have a form I kind of know what’s going on.” The forms that emerged in the new paintings, set in desert landscapes at dusk, were redolent of mourning. In one of the first, Parting Shot, painted in January, a young Hanselaar in a red hairband raises a spectre from an iron hospital bed by blowing on a conch: the sound which she greeted dawn and dusk as a sadhu, and with which she accompanied the scattering of her sister’s ashes.

The spectre is reminiscent of a Kabuki ghost, but its shock of hair recalls the dyed red mane in which her sister always took great pride.

We meet the same spectre in The Long Goodbye floating away from a line of cemetery cypresses towards the mourning figure in the foreground, who joins prayerful hands together in suppressed longing while other disembodied hands reach in to touch her. There’s a tenderness to this painting also felt in the elegiac Empty Hands, painted in April, where the figure’s hands are highlighted in outline against the her black dress while a brazier burns behind and a group of

mourners silhouetted against the sunset holds aloft a white-shrouded corpse on its way to cremation.

There was another influence at work here: Covid-19.

Three weeks into the lockdown imposed in England on 23 March, Hanselaar recalls, “everything had become very unreal, had lost its solidity. I started to wander in the landscape of memory”. For nearly three months she worked in complete isolation, painting 26 pictures – sometimes as many as two a week. In her earlier print cycle, The Crying Game, produced before her sister’s sickness she had turned outwards, focusing on the ills of the world in an overtly political suite of images; now, cut off from the world in her studio and with all news cycles revolving around Covid, she turned inward. She found herself existing in “a limbo of suspended time… a dreamlike state” in which her thoughts drifted back to the Scheveningen seashore. She was living, like Spilliaert, in a phantasmagoria of dreams and images.

The appearance of the North Sea in Hanselaar’s work was a direct response to “the atmosphere of nocturnal wanderings” in the Spilliaert exhibition which had opened at London’s Royal Academy just before lockdown. It was “the feeling of restlessness, of a kind of longing she doesn’t know for what: it activated my sense of the sea as a beginning and end of some part of my life. It became a place where I was wandering in my imagination.” As if by association, her nocturnal wanderers acquired the ghostly phosphorescence of Spilliaert’s self-portraits.

In Like Sand through My Fingers, the mysterious powder the woman pours from one hand into the other fizzes like fairy dust, echoing the ectoplasmic glow of her diaphanous white blouse: against the black expanse of the night sea, her sturdy earthbound body is set alight.

As children, Hanselaar and her sister would wander down from their apartment to the sea along a tarmac path that wound through the dunes past a field where fisherwomen mended nets and a stubby little tower, an obsolete military installation, that provided the only fixed point in the shifting sandscape. It was opposite this spot that she

scattered her sister’s ashes. In a series of nocturnes, The Black Path, begun in early April, the tower still provides a landmark but the sands of memory have shifted. That these are dreamscapes becomes clear from the moonlight shadows of the railings, which pull in opposite directions as if to split the path like a seam. Although seen from behind as in a romantic painting by Caspar David Friedrich, the solitary women on The Black Path, buffeted and braced against the wind, are not surrogates through whose eyes we are invited to admire the beauty of the scene. Unlike Spilliaert, Hanselaar does not love the sea. “I’m quite in awe, I’m quite afraid of it,” she confesses. The woman in High Tide puts up her hands to hold the water back.

There is nothing romantic about Hanselaar’s vision of the North Sea: the dark expanse of water at the end of the path represents an immoveable fact her wanderers must face. “When somebody dies there is nothing you can change,” she says. “You are the active one because the fact is unmoving; you are the one who has to move, to go on this journey.” Slowly, tentatively, as the North Sea paintings progress, Hanselaar’s women approach the water. In The Reluctant Return, painted at the end of March, a woman hovers at the water’s edge, hanging on an enormous fish she knows she should throw back into the sea; in In the Hollow of My Hands, dated 11 April, she bends over some precious substance cupped in her palm as if deciding whether to commit it to the waves; in Side Arm, painted four days later, she stands on the surf line drawing back an arm as if to skim a stone. Only in Moonlight Dancer, finished in

mid-May, is the moment of release is finally reached.

In this homage to Winslow Homer’s Summer Night – and to Paula Rego’s earlier tribute, The Dance (1988), completed shortly after the death of her husband Victor Willing – Hanselaar, in a phosphorescent dress, dances jubilantly on the moonlit dunes above the figures of her family – father, mother, sister and pet dog – silhouetted against an aureole of light on the beach below.

In her North Sea series Hanselaar has taken the plunge and produced a highly personal body of work that traces an emotional path for the viewer to follow. The paintings are sprinkled with a stardust that gives one goose bumps: like Hoagy Carmichael’s haunting Stardust Melody, they have the capacity to suffuse us with longing for a past that is not our own – the capacity of art to transform the personal into the universal. If her previous images were shrouded in mystery, her lockdown paintings have a luminous transparency.

The sybilline artist has removed her face covering: by a paradox that must appeal to her contrarian spirit, isolation has brought her out of hiding.

SUMMER NIGHT WINSLOW HOMER, 1890, OIL ON CANVAS, 74.9 X 101 CM MUSEE D’ORSAY, PARIS, FR

DIRK VONCKX

De Noordzee, pour dernier terrain vague The North Sea, pour dernier terrain vague

Een klein doekje Parting Shot, 60 x 50 cm, is de aandachttrekker voor de ‘North Sea’ series.

Op de voorgrond blaast een meisje op een wulkhoorn, een mannetje met een macaber masker sleurt aan een ballonnetje, in de verte stijgt zwarte rook uit een toren en een onduidbare figuur, mens of geest, staat voor een ledikant op de achtergrond.

Deze gelaagde compositie, met verschillende verhaallijnen in één beeld, staat dicht bij de epische etsen van de kunstenares. Er wacht de toeschouwer een visuele ballade waarvan de indringende plot getekend en geschilderd op canvas een mythische kracht uitdraagt.

Net zoals de Griekse mythologie een ingewikkelde historie lijkt is de ‘North Sea’ Series de pakkende maar existentiële eenvoud zelve. Het gaat om de eeuwige onopgeloste vraag van wat we hier lopen te doen, over begin en einde, verbondenheid en verlies, de mens die groots is en tegelijk zo kwetsbaar: Long is the road.

Long is the Road toont een vrouw gepakt en gezakt met een witte wimpel aan haar wandelstok, krachtig maar ook iets doorgezakt stappend op een verlaten strand met één enkel gebouw op de verre achtergrond. Ze domineert het doek als een

The eye-catcher of Marcelle Hanselaar’s ‘North Sea’ series is Parting Shot, a small canvas measuring 60 x 50 cm. A girl blows a conch in the foreground, while a man in a macabre mask tugs at a balloon tied to a piece of string. In the midground, a vague figure – human or ghost – stand on a bed, and black smoke billows from a tower in the distance. This layered composition, accommodating different storylines within a single image, is similar in feel to the artist’s epic etchings: the viewer confronts a visual ballad, whose intriguing plot conveys a mythical power.

The ‘North Sea’ series is arresting in its existential simplicity. The paintings address the eternal, unsolved question: what are we doing here? They are about beginnings and endings, connection and loss, the human being who is simultaneously proud and vulnerable: Long is the road.

Long is the Road shows a woman, packed and ready to go, with a white pennant attached to her walking stick, walking powerfully, if a little slumped, on a deserted beach with a single building in the distance.

She dominates the canvas like a kind of Mother Courage, who never comes home, always following her distinct shadow. The painting is predominantly olive green, black and white, heightened with

LONG IS THE ROAD 14 FEBRUARY 2020 OIL ON CANVAS, 100 x 80 CM

soort Moeder Courage die nooit thuiskomt, altijd voort doolt achter haar duidelijke schaduw aan.

Het schilderij baadt in olijfgroen, wit en zwart, fel gehoogd door verschillende intensiteiten van oranje. Dit is geen pelgrimstocht naar Santiago de Compostela, het is een eenzame rouwstoet met het lichaam van een overledene op de rug.

Long is the Road is één van vier grote verticale canvassen allen geschilderd rond één centrale figuur, een portret in close-up, die op zoek is naar een waardige rustplaats voor een overledene. Het vierluik ontvouwt zich met Empty Hands. Het is een dramatische enscenering van de rouwende, de haren sluiks over het gezicht beide handen leeg inwaarts gekeerd, met zijdelings de voorstelling van een houtskoolvuur en lijkdragers die de verassing suggereren. Volgt In the Hollow of My Hands waar de centrale figuur beschermend voorovergebogen de as in beide handen gesloten houdt alsof het een kwetsbaar vogeltje gold. Like Sand Through My Fingers sluit de reeks af met de as verstrooiing op de rand van een donker naderende zee.

Voor deze vier schilderijen kiest Marcelle Hanselaar voor een eenvoudige compositie met grote lege ruimtes en golvende lijnen van vlakte en zee. Ze beperkt het kleurenpalet tot hoofdzakelijk zich herhalende zwarten, oranjeroden en grijsgroenen.

Zo ontstaat een sterke compositorische eenheid die volledig in dienst staat van het aangrijpende verhaal.

De vier doeken roepen bij me de herinnering op aan Kader Abdolah die vertelde hoe hij met het lichaam van zijn broer, vermoord door het regime van de Ayatollahs, moest rondreizen op zoek naar een laatste rustplaats die hem op officiële begraafplaatsen werd geweigerd. Hij beschreef dit later in de roman Het Huis Van De Moskee (2005).

The ‘North Sea’ serie ontrolt zich vervolgens via een geheel van eerder kleine doeken waarin het verhalende karakter wordt uitgebreid door een meer gedetailleerde voorstelling van strand-, duinen- wolken- en zeezichten. De nu bijna als een figurant voorgestelde vrouw lost zo goed als op in de indrukwekkende omgeving. Dit effect bereikt Hanselaar door het eigenzinnig doelbewuste gebruik van de plastische taal van Leon Spilliaert, de maritieme symbolist bij uitstek.

De schilderijen worden stills uit de film waarin de hoofdfiguur ronddwaalt langs een zwart pad door de duinen. Uiteindelijk verzoent ze zich met het geleden

various intensities of orange. This is no pilgrimage to Santiago de Compostela, but rather a solitary funeral procession with a corpse on her back.

Long is the Road is one of four large vertical canvases that feature a single, central figure, viewed in close-up, seeking a dignified resting place for a dead person.

The quadriptych unfolds with Empty Hands. The mourner is dramatically staged, her lank hair covering her face, her empty hands turned inward. The brazier filled with burning coals and the pallbearers in the distance suggest a cremation. The lone figure that dominates In the Hollow of My Hands leans forward, protectively holding the ashes in her closed hands as if they were a vulnerable bird. The series concludes with Like Sand Through My Fingers, with the scattering of the ashes at the edge of a dark, approaching sea.

For these four paintings, Hanselaar opts for a simple composition with large empty spaces and undulating lines separating land and sea. The colour palette is limited mainly to blacks, orangey reds and greyish greens, creating a strong compositional unity, fully in the service of the gripping story.

The four canvases remind me of the Iranian writer Kader Abdolah, who told me how he had to carry the body of his brother, murdered by the Ayatollah’s regime, in search of a final resting place that was refused him in official cemeteries. He describes this traumatic journey in his novel The House of the Mosque (2005).

The ‘North Sea’ series continues with a collection of rather small canvases in which the narrative character is expanded by a more detailed representation of beaches, dunes, clouds and seascapes. The woman, now almost an extra, almost dissolves into the impressive surroundings. Hanselaar achieves this effect through the idiosyncratic, purposeful use of the plastic language of the Belgian painter Léon Spilliaert, the maritime symbolist par excellence. The paintings become stills from a film in which the main character wanders along a black path through the dunes. Eventually she reconciles herself with her loss through a series of purifying rituals that unite her with the overwhelming landscape. The hues become bright.

Two large horizontal canvases complete the series majestically: The Cleansing is a purifying dip in the sea, while Moonlight Dancer is a wild, liberating dance on the beach. The latter work takes partial inspiration from an old postcard Hanselaar found of Winslow

verlies doorheen een reeks zuiverende rituelen die haar eenmaken met de overweldigende natuur. De tinten worden helder. Twee grote horizontale doeken sluiten de reeks magistraal af: The Cleansing een zuiverende duik in de zee en Moonlight Dancer een wilde bevrijdende dans op het strand. Dit laatste werk is trouwens geïnspireerd door een oude postkaart die Hanselaar vond van Winslow Homers’ Zomernacht dat hangt in Musée d’Orsay te Parijs.

Homer’s painting Summer Night, which hangs in the Musée d’Orsay in Paris.

Hanselaar painted the ‘North Sea’ series almost entirely during London’s coronavirus lockdown. It became a fruitful safety valve, in which her seclusion in the studio was punctuated with daily inspiring walks along and across the Thames to Battersea Park.

(Translation by Gerard Forde)

The ‘North Sea’ series werd door Marcelle Hanselaar bijna volledig geschilderd gedurende de lockdown van Londen tijdens de Corona crisis. Het werd een vruchtbare uitlaatklep waarin de beslotenheid van het atelier werd afgewisseld met dagelijks inspirerende wandelingen langs en over the Thames naar Battersea Park.

AT THE ORACLE OF LIMBO 1 28 AUGUST 2019 OIL ON CANVAS, 120 X 100 CM

AT THE ORACLE OF LIMBO 2 5 SEPTEMBER 2019 OIL ON CANVAS, 120 X 100 CM

AT THE ORACLE OF LIMBO 3 5 NOVEMBER 2019 OIL ON CANVAS, 130 X 110 CM

AT THE ORACLE OF LIMBO 4 27 JANUARY 2020 OIL ON CANVAS, 130 X 110 CM

THE LONG GOODBYE 25 FEBRUARY 2020 OIL ON CANVAS, 91 X 71 CM

CUMULUS 11 JANUARY 2020 OIL ON CANVAS, 61 X 51 CM

PARTING-SHOT 28 JANUARY 2020 OIL ON CANVAS, 50 X 60 CM

EMPTY HANDS 31 JANUARY 2020 OIL ON CANVAS, 100 X 80 CM

LONG IS THE ROAD 14 FEBRUARY 2020 OIL ON CANVAS, 2020, 100 X 80 CM RIGHT: LIKE SAND THROUGH MY FINGERS 25 FEBRUARY 2020 OIL ON CANVAS, 100 X 80 CM

SOMETIMES I LONG FOR THE NORTH SEA 1 12 MARCH 2020 OIL ON CANVAS, 90 X 70 CM

THE RELUCTANT RETURN 28 MARCH 2020 OIL ON CANVAS, 90 X 70 CM

NIGHT WANDERER 4 APRIL 2020 OIL ON CANVAS, 70 X 60 CM RIGHT: YESTERDAY WAS TODAY 5 APRIL 2020 OIL ON CANVAS, 100 X 80 CM

THE BLACK PATH 1 / HET ZWARTE PAD 1 6 APRIL 2020 OIL ON CANVAS, 70 X 60 CM

IN THE HOLLOW OF MY HANDS 11 APRIL 2020 OIL ON CANVAS, 100 X 80 CM

LEFT: SIDE ARM 13 APRIL 2020 OIL ON CANVAS, 100 X 80 CM THE BLACK PATH 2 / HET ZWARTE PAD 2 16 APRIL 2020 OIL ON CANVAS, 70 X 60 CM

HIGH TIDE 28 APRIL 2020 OIL ON CANVAS, 81 X 61 CM

YELLOW SKY 22 APRIL 2020 OIL ON CANVAS, 90 X 70 CM

SOMETIMES I LONG FOR THE NORTH SEA 2 28 APRIL / 27 AUGUST 2020 OIL ON CANVAS, 90 X 70 CM

LAST ONE STANDING 4 MAY 2020 OIL ON CANVAS, 100 X 80 CM

MOONLIGHT DANCER 11 MAY 2020 OIL ON CANVAS, 100 X 120 CM

The long stretch of the first lockdown and the intensity of painting created a state of magic realism in which everything takes on a different meaning.

One day, while reading a book, a postcard fell out, Winslow Homer’s Summer Night. That picture catapulted me into a beach scene with my deceased family looking out towards the horizon and I dancing with wild abandon, out of my isolation, out of the imposed restrictions, out of the past into a fleshly, real present.

BREAKWATER 16 MAY 2020 OIL ON CANVAS, 70 X 60 CM

THE CLEANSING 30 MAY 2020 OIL ON CANVAS, 100 X 120 CM

My sister had a photocopy of Marlene Dumas’ Measuring Your Own Grave above her bed.

She really liked that painting.

The width of our arms is equal to our height, and the figure bending forward with arms spread wide was also, for me, a way to end a particular journey.

THE BLACK PATH 3 / HET ZWARTE PAD 3 16 JUNE 2020 OIL ON CANVAS, 70 X 60 CM

DON’T KNOW WHETHER TO SCREAM OR CRY 2020 LINO CUT, 40 X 30 CM, ED. 20 DON’T KNOW WHETHER TO SCREAM OR CRY 2 2020 LINO CUT, 40 X 30 CM, ED. 20

WIND FROM THE WEST 1 2020 LINO CUT, 40 X 30 CM, ED. 20 WIND FROM THE WEST 2 2020 LINO CUT, 40 X 30 CM, ED. 20

MARCELLE HANSELAAR

SOLO EXHIBITIONS

1945 Born in Rotterdam, The Netherlands

Lives and works in London 1962–64 Royal Academy of Arts, The Hague, NL 2001 B-TEC Printmaking, Chelsea & Kensington College, London

2021 North Sea, De Queeste Art, Abele/Watou, BE

Long is the Road, Arundel Contemporary, Arundel 2019 The Crying Game, Museum on the Seam,

Jerusalem, Il 2018 The Crying Game and other prints, 12 Star Gallery, London 2017 Dreamcatchers, De Queeste Art, Watou, BE

The Crying Game, 30 Prints and Book launch,

Herrick Gallery, London 2016 Drawings/Tekeningen, de Queeste Art, Watou, BE

Drawing the line, Julian Page Fine Art, Clerkenwell

Gallery, London 2015 Cushioning the blow, prints by the CC prizewinner,

Clifford Chance HQ, London 2014 Wondrous world of an introvert/De verwondering

van een binnenvetter, De Queeste Art, Watou, BE

Open Secrets, Millennium Gallery, St Ives 2013 Walking the line, Kings Place Gallery, London 2012 Auerbach & Hanselaar, graphic works, Quest 21,

Brussel, BE 2011 Mama mama, the bear is loose, De Queeste,

Abele/Watou, BE 2010 Mama mama, the bear is loose, Quest 21,

Brussel, BE

Biting the bullet, Millenium gallery, St.Ives

Sticks & Stones, University Gallery and

Baring Wing, Newcastle

Sweet ’n’ Low, Viktor Wynd Fine Art inc. London 2009 Back to Basics, SNAP Gallery, Edmonton, CA 2008 The Weight of Smoke, Galerie de Buytensael,

Arnhem, NL

The Weight of Smoke, East West Gallery, London

Down the Rabbithole, University of Aberystwyth

Gallery, Aberystwyth, Wales 2007 The Weight of Smoke, De Queeste Art, Watou, BE

The Weight of Smoke, University of Brussel Gallery,

Brussel, BE 2006 La Petite Mort, Stephanie Burns Fine Art,

Canberra, AU

Intimate Conversations, Artonomy Fine Art, Truro 2005 La Petite Mort, 19 etchings, East West Gallery, London

La Petite Mort, De Queeste Kunstkamers,

Abele/Watou, BE 2004 Shouts & Whispers, Stephanie Burns Gallery,

Canberra, AU

Silence is easy, De Queeste Kunstkamers,

Abele/Watou, BE 2003 You said you loved me, RM Art, Essen, DE

Sometimes I dream about reality, East West

Gallery, London 2001 Incomplete Tales, Erasmus Gallery, Rotterdam, NL

All of Me, East West Gallery, London 1999 Close to the Bone, New Hall, Cambridge

Burying the Hatchet, the Millinery Works, London 1996 Collyer Bristow Gallery, London 1994 Galerie Reisel, Rotterdam, NL 1988 Last Gallery, London 1986 Art Space Gallery, London 1983 Clare Hall, Cambridge 1982 Stedelijk Museum, Alkmaar, NL

AWARDS 2014

2012

2011

2010 2006

2003

Clifford Chance Purchase Award at the International Print Biennial 2014 Statutory Awards of MTG – Krakow International Print Triennial 2012, PL; Guangdong Museum Purchase Prize, Qijiang, CN Shortlisted for the Ruth Borchard Self Portrait prize and acquired by the Ruth Borchard Self Portrait collection Birgit Skjold Prize for Pillowbook of Endless Nights, acquired by V&A National Art Library Guangdong Museum Purchase Prize, Qijiang, CN Aberystwyth, University of Wales Purchase Prize, Originals ’06, London Presse Papier Award, Biennale Internationale d’estampe Contemporaine de Trois-Rivières, Quebec, CA

WORK IN COLLECTIONS British Museum Prints & Drawings Collection, London; V&A Prints & Drawings Collection, London; V&A National Art Library, London; The Metropolitan Museum, New York, USA; Ashmolean Museum, Oxford; Fitzwilliam Museum, Cambridge; Aberystwyth School of Art Print Collection, Wales; Whitworth Museum & Art Gallery, Manchester; Meermanno Museum, House of the Book, The Hague, NL ; Soho House, Amsterdam, NL; AMC, Amsterdam, NL; Amsterdam Arts Council, NL; Clifford Chance Art Collection, London; The Viktor Wynd Museum of Curiosities, London; The Ned, London; Soho Works, London; Paintings in Hospitals, London; Merrill Lynch Bank, London; Rabo Bank, London; New Hall, Cambridge; Clare Hall, Cambridge; Richard Harris Collection, USA; Swarthmore College, USA; University of Arizona, Tucson, USA; Sakimi Art Museum, Okinawa, Japan; Guandong Fine Art Museum, Qijiang, CN; Iraq National Library, Baghdad, IQ

SELF-PORTRAIT IN ISOLATION 5 MAY 2020 OIL ON CANVAS, 90 X 70 CM

GROUP EXHIBITIONS 2020

2019

2018

2017

2016

2015

2014

Prix Renee Carcan, Bibliotheca Wittockiana, Bruxelles, BE; Beyond other Horizons, Contemporary British Painting in dialogue with Contemporary Romanian Artists, Iasi Palace of Culture, RO; The Desire of Looking, De Queeste Art, BE; Revisiting the Decameron, Flowers Gallery online; Summer Exhibition, RA of Arts, London; London Original Print Fair with Julian Page online, RA of Arts, Piccadilly, London; Summer Exhibition, RWA Bristol; Women’s Lockdown Art, Zabludowicz Collection, London; Woolwich Contemporary Print Fair, with Julian Page online, London; Quench your Thirst, CAN, KW Mini Print Berlin, Galerie Heike Arndt, Berlin, DE; Works on Paper, Arundel Contemporary, Arundel: Körpergefühl, De Queeste Art, Watou, BE; Iconoclash, De Queeste Art, Watou, BE; London Original Print Fair with Julian Page, RA of Arts, London; The Female Nude, University of Kent; In Edition, Bo Lee gallery, London; Summer Exhibition, RA of Arts, London; Fair For Saatchi, Saatchi gallery, London; Points of Contact, Austin Desmond Gallery, London London Art Fair, Jessica Carlise Gallery, London; As The Crow Flies, Bo Lee Gallery, London; London Original Print Fair with Julian Page, RA of Arts, London; In a Country far away, Deutsches Märchen- und Wesersagenmuseum, Bad Oeynhausen, DE Strange Worlds, The Vision of Angela Carter, RWA, Bristol; London Art Fair, Jessica Carlisle, London; Int. Print Triennial Krakow, at Dalarnas Museum, Falun, SE; Curators Choice, Leeds College of Art, Leeds; London Original Print Fair with Julian Page, RA of Arts, London; Ruth Borchard Self Portraits Prize, Kings Place Gallery, London; Biennale Int. de Gravure, Trois-Rivières, CA; Women in War, The HUB gallery, Kuweit, KW; Manchester Cont. Art Fair, with Julian Page, Manchester Rene Carcan Int. Prize for Printmaking, Bibliotheca Wittockiana, Brussels, BE; London Original Print Fair with Julian Page, RA of Arts, London; KALEID 2016 Collection, KHiO Bibliotek, Oslo, NO; Offprint London, with Kaleid Editions, Turbine Hall, Tate Modern, London; The Ruth Borchard Collection: The Next Generation, Kings Place Gallery, London; SHUFFLE, Herrick Gallery, London; Derwent Art Prize, Mall Galleries, London and touring; Hardboiled Wonderland, Jessica Carlisle Gallery, London; Creative Fury, at Clerkenwell Gallery, London; Pick your Poison/Political Impressions, Davidson Gallery, Seattle, USA 10th Biennale internationale des estampes contemporaine, Musee des Beaux Arts de Liege, BE; London Original Print Fair with Julian Page, RA of Arts, London; Al Mutanabbi Street Starts Here, Harold F. Johnson Library Center, Hampshire College, USA; Summer Exhibition, RA of Arts, London; Facing History: Contemporary Portraiture, Victoria & Albert Museum, London; POSITIONS Berlin Art Fair, with Kupferdruck Galerie, Berlin, DE; Aditory, Bo Lee Gallery, London; Multiplied 2015, Christie’s SK, with Julian Page, London; Freedom from Torture, OXO Wharf, London Works on Paper Art Fair, Science Museum, London; London Original Print Fair with Julian Page; RA of Arts, London; Summer Exhibition, RA of Arts, London; Intrusions, Looking after Aikman,

2013

2012

2011

2010

2009

artists and the Uncanny, Printroom Highgate, London; From David Bomberg to Paula Rego, The London Group in Southampton, Southampton City Art Gallery; Why War?, Freud Museum, London; Through the Window, Kunsthauschen Heiligerberg, Zurich, CH; Vogels, Meermanno Museum, Den Haag, NL; London Artist Book Fair, Whitechapel Art gallery, London; Multiplied, with Julian Page, Christie’s SK, London; Herbstgruppen Ausstellung, 55 Limited, Kupferdruck & Galerie, Berlin, DE; Arts Libris, Book Fair, Barcelona, ES London Art Fair, With Millennium, London; The London Group Centenary Exhibition, Pitzhanger Manor Gallery, London and Mottisfont Abbey, Mottisfont; London Original Print Fair with Julian Page, Royal Academy, London; The Mythical and the Mundane, Siamse Tire, Tralee, Co Kerry, IE; 8e Biennale internationale d’estampe contemporaine de Trois-Rivières, Quebec, CA; Threadneedle Prize 2013, Mall Galleries, London; London Art Book Fair, with Kaleid editions, Whitechapel Galleries, London; Multiplied, with Julian Page Fine Art, Christie’s SK, London; Helen Bamber Foundation at Deutsche Bank, London; Freedom from Torture, CARA, The Art of Resistance, Pentagram, London; Who is afraid of red, yellow & blue?, Flowers Gallery, London London Art Fair, with Millennium; Ruth Borchard Self Portrait new acquisitions, University Gallery, Newcastle and Kings Place, London; Self, nu ich?, Kunsthäuschen Herrliberg, Zurich, CH; London Original Print Fair with Julian Page, RA of Arts, London; The Bones of My Hand, Viktor Wynd Fine Art, London; 400 Women, CSM Suikerfabriek, Amsterdam, NL; 20 jaar beklijvende kunst, De Queeste Art, Watou, BE; 6th Biennal International De Gravura, Douro, PT; 6th Kyoto Hanga Print exhibition, Kyoto, and Kita Kusha Museum, JP; Print Triennial Krakow, PL; Multiplied, with Julian Page, Christie’s SK, London; International Graphic Triennial of Graphic Art, Bitola, MK; Party, Viktor Wynd Fine Art, London; Small is beautiful, Flowers Central, London; FIG Bilbao, International Print Biennale, Bilbao, ES London Art Fair, with Millennium and Miller Art Associations, London; 8th Biennale Internationale de Gravure Contemporaine de Liège, CED, BE; Dreams, Freud Museum, London; Trajector Art Fair, Brussels, BE; Galerie Artisten, Galerie Witteveen, Amsterdam, NL; 400 Women, Canongate, Edinburgh; Studio artists of Bartolomeu dos Santos, Casa das Artes, Tavira, PT; Wunderkammer, Oxtagonal Gallery, Bath; London Art Book Fair, with Kaleid Editions, Whitechapel Gallery, London; Ghosts of Gone Birds, Rochelle School, London; Chelsea Antiquarian Book Fair, Chelsea Town Hall, London; China Print Festival, Qijiang, CN; Ruth Borchard Self Portrait, Kings Place Gallery, London; Loods 6, with Galerie Witteveen, Amsterdam, NL 10-10-10, De Buytensael, Arnhem, NL; The Art of Giving, Saatchi Gallery, London; Multiplied Art Fair, Christie’s SK, London; 400 Women, Shoreditch Town Hall, London, touring; Summer Exhibition, RA of Arts, London; Art London, with Eyestorm and Millennium Gallery; The House of Fairy Tales, The Millennium, St. Ives; Beasts Royal, Viktor Wynd Gallery, London Art of Survival, Helen Bamber Foundation, Maddox Gallery, London; Metamorphoses,

2008

2007

2006

2005

2003

2002

2000 1999 1998 1997

1996

4e Biennale de l’estampe de Saint-Maur, FR; Biennale internationale d’estampe contemporaine de Trois-Rivières, Quebec, CA; Drie Invalshoeken, De Queeste Art, BE; Summer Exhibition, RA of Arts, London; RWA Open, Bristol, 2nd Qijiang International Print Exhibition, Chongqing, CN, touring; XIVeme Biennale internationale de la gravure de Sarcelles, FR; Black Dog, Red Rooster, Kunsthäuschen Herrliberg, Zurich, CH Cont. European & African Prints, RaMoMa, Nairobi, KE; Choir of Angels, voice-over drawings with with Laurence Fuller, London Original Print Fair, RA of Arts, London; The Threadneedle Figurative Prize, Mall Galleries, London; X Bienal Internacional de Grabado Caixanova, ES Biennale Int. de Gravure 07, Museum of Modern & Contemporary Art, Liège, BE; Beyond the Narrative, 5 Figurative Painters, Pitzhanger Manor Gallery, London; Blauwdruk van een menszijn, De Steiger, Menen, BE; Shortlisted Sovereign European Art Prize 2007, Club Row, London; Shortlisted Celeste Art Prize 2007; Bienal Internacional de Gravura do Douro, PT Artists & Prints, Artonomy Fine Art, Truro; Originals ’06, Mall Galleries London; Le Reveil Figuratif, La Renaissance Mairie, Hondschoote, France, and Beauvoorde, BE; Summer Exhibition, RA of Arts, London; MAAPS Printmaking Biennial 2006/07, touring Anna Leonowens Gallery, NSCAD University, Halifax, CA; Great Hall, OCAD University, Toronto, CA; Kyoto Municipal Art Museum, Kyoto, JP; The Total Museum of Contemporary Art, Seoul, KR; Red Gate Gallery, Beijing, CN Uncanny Tales touring 2005-2007: Scarborough Gallery, Scarborough; Glynn Vivian Art Gallery, Swansea; Wrexham Art Gallery, Wrexham; Cultural Centre Ypres, BE; Jersey Arts Centre, St. Helier; Gt Sutton Street, London; Black Swan Arts, Frome; Ferens Art Gallery, Hull; Rugby Art Gallery, Rugby; Babylon Art Gallery, Ely; Print International, Memorial Gallery, Yale College, Wrexham; Biennale Internationale de Gravure, Cabinet des Estampes et des Dessins de Liège, BE; Biennale internationale d’estampe contemporaine de Trois-Rivières, CA; Unladylike, East West Gallery, London; 200 years European Art, Stephanie Burns Fine Art, Canberra, AU Biennale internationale d’estampe contemporaine de Trois-Rivières, Quebec, CA; Prizewinners, East West Gallery, London; Uncanny Tales, Galerie de Buytensael, Arnhem, NL Young Masters Prints, Atlanta, USA; FWA, Art, Age & Gender, Orleans House, London; Grafiek Nu, Biennale Nederlandse Grafische Kunst, Singer Museum, Laren, NL Art on Paper Fair, RCA, London; Englische Kunst, Galerie Thomas Hettlage, Munich, DE; Bearing Up, East West Gallery, London Notes from the Underground, Dostoevsky Museum, St. Petersburg, RU; Small & Sexy, East West Gallery, London Women on Men, touring Oriel Gallery Theatr Clwyd; Bodelwyddan Castle, Denbighshire; School of Art Gallery, University of Wales, Aberystwyth, Unquiet Voices, Doncaster Museum & Art Gallery, Doncaster; Graffik 97, Printmakers, North Lincolnshire Museum and Art Gallery, Scunthorpe; Small Objects of Desire, East West Gallery, London The Human Form, Fairfax Gallery, Tunbridge Wells;

1995 1994 1993 1992 1991 1990 1989

The Child Within, East West Gallery, London Identity, Towner Art Gallery, Eastbourne; Experiments, SW Teachers University, Chongqing, CN Contemporary Portrait Society, London; Women Light Up The Night, Berlin, DE Cooling Gallery, London; Expressionist Paintings, SW Teachers University, Chongqing, CN Eva Jekel Gallery, London; Cooling Gallery, London Galerie Clairfontaine, Luxembourg; British Month, Roy Miles Gallery, London Art for China, Smith Gallery, London; British Painters, Mall Galleries, London Links of Affinity, Knapp Gallery, London and touring; Berkeley Square Gallery, London

BIBLIOGRAPHY 2012 2020

2019 2018

2017

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2016 2015

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Catalogue René Carcan Print Prize; Catalogue Beyond other Horizons; Art Quartely, Summer 2020, page 74; The Flux Review, ed 4; The Spectator, 25/7/20 The Art of the Plague; The Jackdaw, Remembering Lockdown, 7/20; The Tablet, Pandemic painting, July 2020; The Long Goodbye, Journal of Contemporary Painting, Autumn 2020 Catalogue The Female Nude; Catalogue Points of Contact, Austin Desmond Gallery, London Galleries, March 2018, Round-up by Nicholas Usherwood; It’s all political, Susan Tallman, Art In Print, March 2018; Catalogue In einem fernen, fernen Land, Deutsches Märchen- und Wesersagemuseum, Bad Oeynhausen, DE Catalogue Strange Worlds, The Vision of Angela Carter, RWA, Bristol; Bristol Life Magazine, Jan. 2017, Strange Worlds; Catalogue Int. Print Triennial Krakow, at Dalarnas Museum, Falun, SE; Leeds College of Art, 2017, Curators Choice, exhibitions Jan-June; Catalogue of Biennale Int. de Gravure de Trois-Rivières, CA; The Ashmolean Magazine, Eunice Martin The Crying Game, autumn; Printmaking Today, Hidden Mentor, Winter 2017; Printmaking Today, The Crying Game, Autumn 2017 The Crying Game, Book, Marcelle Hanselaar, publ. Julian Page; Catalogue Women in War, Kuweit; BIECTR, Un air de liberté, Vie des Arts, 248; Catalogue One-Off, Monoprints, Bankside Gallery, London; Dark Mountain, issue 12, Sanctum, Oct. 2017; Catalogue Round and round we go, Leeds College of Art, Leeds Catalogue René Carcan Print Prize; Catalogue Derwent Art Prize; Sex and Slaughter in the Tent of Jael, Colleen Conway, Oxford UP Catalogue Absence and Presence, a printmaking response to the bombing of Al Mutanabbi Street, San Fransisco Center of the Book, USA; All the Fun of the Fair, RA Magazine spring 2015; Catalogue New Hall Art Collection, June; Catalogue The Sketchbook World Tour, Princeton Press, New York; Nourishing Blood Novelist, New Statesman, 7-14 May; Catalogue 10e La Biennale de Gravure de Liège; Dreams & Utopia, by Nan Mulder, Printmaking Today, Winter 2015; New Acquisitions 2015, the V&A Museum Viktor Wynd, Cabinet of Wonders, October 30; Catalogue Open Secrets, Millennium Gallery; Catalogue International Print Bienniale; Northern Print, Newcastle; Catalogue David Bomberg to Paula Rego, Southampton City Art Gallery; Why War?, Wall Street International 19/8/14; Catalogue Wondrous world of an introvert, De Queeste Art, BE Catalogue The London Group Centenary at Pitzhanger Manor; Printmaking Today, Krakow Print Biennial; Catalogue Douro Print Biennial; Catalogue Impress13; Easelwords, The Jackdaw, no 109, May/ June 13; Triple vision, NU, Galleries May 2013, King’s Place Magazine, May 2013; Catalogue Walking the Line, Kings Place Gallery, London; The Jackdaw; Catalogue 17th Int Print Biennial, Varna; Catalogue FIG Bilbao, Premio Internazionale de Grabado; Catalogue 8e Biennale internationale d’estampe contemporaine de Trois-Rivières, Quebec; Ghosts of Gone Birds, author Ceri Levy and Chris Aldous, Bloomsbury Press; Postcards from the edge, film by Thomas Voelker; Catalogue The Threadneedle Prize for Painting; The Jackdaw, Sept/Oct 2013; Catalogue

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CARA, The Art of Resistance, Nov 2013; 1er Encan d’oeuvres d’art de la BIECTR, Trois-Rivières, CA Catalogue Braided Together, London; Braided Together, Viviane Blanchard, Artist Newsletter, March; Ruth Borchard Self Portaits, Newcastle; Catalogue Hanga Print Exhibition, Kyoto, JP and London; Catalogue Biennale de Douro, PT; Catalogue International Print Triennial of Graphic Art, Bitola, MK; Catalogue International Print Triennial Krakow; Journal of the Print World, vol 35 no 4, Oct 2012; Printmakers Bible, Colin Gale & Megan Fishpool Catalogue 8e Biennale internationale de gravure contemporaine, Liège; Catalogue Dreams, Freud Museum, London; Beauty & the Beast, Printmaking Today Vol. 20 no 1, spring 2011; De Musagete 3, text and published by Jurrie Poot, Amsterdam, June 2011; Catalogue Concrete Skin, London Catalogue Visual Arts, Sale 708, Bloomsbury Auctions; Catalogue Mama, mama the bear is loose, De Queeste Art, BE; Catalogue Biting the Bullet, Personalia, Collect Magazine, Oct 2010; Galleries Reviews, Nov 10, Millennium Gallery, St Ives; Exhibitions: Soames & Hanselaar, the Guardian Guide, 28 Aug 2010; Art Review, Frieze Fair issue Printmakers Secrets, Anthony Dyson, May 2009; Catalogue Metamorphoses, 4e Biennale de l’estampe de Saint-Maur; Biennale internationale d’estampe contemporaine de Trois-Rivières, CA; Practical Printmaking, Colin Gale; Hybrid Prints, Megan Fishpool; Catalogue Wrexham International Print Bienale; Black on white, Triple Vision, Galleries May 2009; Catalogue 2nd Qijiang international Print exhibition; Catalogue XIVeme Biennale int. de la gravure de Sarcelles, FR; Regards sur la literature contemporaine, Sept. 2009 Close-up, Kunst & Antiek journaal, Collect, Feb 2008; Marcelle Hanselaar, Select, Tableau Fine Art; Comptoir d’estampes au Churchill, Wegimont Culture no. 236; Intaglio Printmaking, A&C Black; Mychael Barratt; Catalogue Down the Rabbit hole, Aberystwyth University; Catalogue X Bienal Internacional de Grabado de Caixanova 2008 Catalogue The Weight of Smoke, De Queeste Art, BE; Catalogue Sovereign European Art Prize 2007; Catalogue Fête de la Gravure, 6e Biennale internationale de Gravure, Liège; Catalogue Celeste Art Prize; Receiving the inheritance, Printmaking Today, vol.16 no. 1/07; Catalogue 04 Bienal 2007 Internacional de Gravura Douro; Easel words, The Jackdaw, No 73. Nov 2007 Into the Dark Side of Women, The Independent, 4/4/06; La Petite Mort, Le Reveil Figurativ, Pillowtalk, Veduta, Spring 06; Images Touch a Raw Nerve in Exploring Sexuality, Canberra Times, 26/3/06; Galleries, Canberra, 5/06; Rare Glimpses of Time-honoured Artists, Collector, 7/06; Uncanny Tales, Frome, The Art Newspaper, What’s on, U.K., 6/06; Printmaking Handbook, Etching, by Colin Gale; Catalogue L’image, Le Reveil Figuratif, 7/06; Uncanny Tales with a twist, Hull Advertiser, 6/7/06; 15/5/06 top 5 galleries, Uncanny Tales, The Knowledge, The Times, 7/7/06; Behind closed doors, artist profile Printmaking Today vol. 15 no 3 ’06; Catalogue MAAPS, 1st Print Biennale, CA; Catalogue Discerning Eye, London; Brush Strokes, Evening Telegraph, 27/10/06; Artist To Talk About her work, Rugby Advertiser, 5/10/06;The Uncanny goes on display, Rugby Observer, 21/9/06; Gallery Shows Light and Dark Shades of Life, Evening Telegraph, 15/9/06; Acclaimed Artists’ Tour Hits Rugby, Rugby

2005

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1999

Advertiser, 14/9/06; Boldness & Emotion, an interview with Marcelle Hanselaar, Flashfilm magazine, 11/06 Catalogue 5th Biennale internationale de gravure contemporaine, Liège; Catalogue Wrexham Print International; Catalogue The London Group, Bankside Gallery, London; Darkly Dreaming, Hull Daily Mail, 22/1/05; Lunchtime talk by top artist, Evening News, 23/2/05; Preview Uncanny Tales, The Guardian, 30/4/05; The Guardian Guide: Pick of the week, Uncanny Tales, Swansea, 23/4/05; Uncanny Tales, Platform Summer 2005; Galleries, Thumbnails La Petite Mort; Preview, Best of the month: Dutch etchings, La Petite Mort, 7/05, The Hill; Catalogue Biennale de Trois-Rivières, CA; Uncanny Tales, Platform, Summer 2005; Reach, Uncanny Tales, Summer 2005; Catalogue Unladylike, East West Gallery, London; Uncanny Tales in Ieper, Ticket, 10/05; La Petite Mort, Nieuwe Etsen; Oct. issue Veduta; Veduta, Autumn 2005; Collision of Dreams & Nightmares, EP 17/6/05; Into the Dark Side of Women, The Independent, 4/4/05 Strong Stuff Not for the Romantic at Heart, Canberra Times 16/2/04; Heroes & Villains, Printmaking Today, Autumn 04; De ondeugende wereld van Marcelle Hanselaar, Ticket, 10/04, no. 105; Het zachte vlees, A.A.A. no. 356, 11/04; Catalogue Silence is easy, De Queeste Art, BE; Catalogue Uncanny Tales, FWA; Uncanny Tales, Preview, Printmaking Today, Winter 2004 Catalogue Contemporary British Art; Sight Specific, What’s on in London 29/1/03; Catalogue Grafiek Nu 10, Biennale Nederlandse Grafische Kunst, Kunst aus London, Westdeutsche Allgemeine, 15/2/03; Provokante Pinselstriche, NRZ, Essen, 19/2/03; Catalogue New Hall Art Collection, 3rd ed., Cambridge; Hanselaar Takes a Bow, Printmaking Today, Spring ’03; Catalogue Wrexham Print International; Catalogue Biennale internationale d’estampe contemporaine de TroisRivières; La Biennale internationale d’estampe prend son envol, Le Nouvelliste, 16/7/03; Marcelle stoot door, Stan Huygens Journaal, De Telegraaf, 4/6/03; Catalogue Sons & Mothers, Collins Gallery, Glasgow, 6/03; Catalogue Sometimes I dream about reality, East West Gallery, London; Expression of Restraint, Morgan Falconer, What’s On in London, 10/9/03; Reflections of an Artist’s Dream, Kensington Times, 24/9/03; Catalogue Uncanny Tales, Arnhem, NL; Mensen, maskers en de beest erachter, Hoog en Laag, 8/10/03; Uncanny Tales, Er hangt iets dreigends in de lucht, De Gelderlander, 7/10/03; Uncanny Tales, groepexpositie, Tableau Fine Arts Magazine nr. 5, 11/03; Griezelige Verhalen, Opzij, 11/03; Verontrustende verhalen, Art – NL 5/03; Catalogue Art, Age & Gender, FWA, Orleans House, London Englische Figurative Malerei in der Galerie Hettlage, Münchner Merkur 16/7/01; Das sprechende Antlitz der Scheherazade, Süddeutsche Zeitung, 15/7/01; Erasmus Magazine Incomplete Tales of Remarkable Journeys, 11/01; Studium Generale, Marcelle Hanselaar, Galerie Erasmus, 12/01; Catalogue All of Me, East West Gallery, London Catalogue Pictures to Live With, The Millinery Works, London; Artist Directory of Great Britain, David Buckman; The Artists Eye, The Arts Review, 9/99; Artist Opens Floodgate of Memory, Evening

News 22/4/99; Catalogue Burying the Hatchet, The Millinery Works, London; The Hermit who Turned, Morgan Falconer, Highbury & Islington Express 8/10/99; Burying the Hatchet, The Angel 10/99; Critics Choice, John McEwen, Sunday Telegraph 17/10/99 1989–98 Catalogue Woman on Man/Man on Woman, Oriel Theatr Clwyd, Wales, 97/98; Catalogue Undercurrents, Doncaster Museum, 1998; Jane Czyzselska, Unquiet Voices, Artist Newsletter 9/97; Catalogue to the exhibition, Galerie Reisel, Rotterdam, NL 1992/93; Sister Wendy Beckett, On Art and the Sacred, Rider Books, London 1992; Sister Wendy Beckett, The Spiritual in Contemporary Art, The Journey, London, 1990; Catalogue Art for China 1989; Catalogue Links of Affinity, Dutch Contemporary Art in Britain, Mary Rose Beaumont, Knapp Gallery, Regent’s College, London; Net als de Koningin, Avenue, 5/89; William & Mary vieringen, Nederlandse kunstenaars aan bod, Marcella van der Wiel, De Telegraaf, 17/6/89; Britse Nederlanders exposeren in London, Haye Thomas, Haagse Courant,17/7/89; Links of Affinity, Dutch Contemporary Art in Britain, The Times, 20/7/89; Expositie Engelse Hollanders, Hieke Jippes, NRC Handelsblad, 21/7/89; Going Dutch, Giles Auty, The Spectator, 1/7/89; Dutch Contemporary Art in Britain, Jane Norrie, Arts Review, 7/89; Banden van verwantschap, Nederlandse Kunst spreekt in Engeland een woordje mee, Nanke Kramer, Trouw, 3/7/89; Nederlandse kunstenaars in Groot-Brittannie, Tableau, Summer 1989

Birth is not the beginning, death is not the end In memory of my sister

As always, with great thanks to the ongoing support of my gallerists and friends: Dirk Vonxkx, Theun Vonckx & Monique Verstraete of De Queeste Art; Maya Coppen & Steve Coppen of Arundel Contemporary; Laura Gascoigne for her text, Gerard Forde for his translations; Jane Plüer for her design and Jennifer Silverstone for lockdown walks

Text by Laura Gascoigne and Dirk Vonckx Translation by Gerard Forde Graphic Design by Jane Plüer Photography by Danny Lee Printed in 2021 by Gomer Press Ltd (Edition of 300) All images © Marcelle Hanselaar Except: Winslow Homer, Summer Night, Musée d’Orsay, Paris

Published on the occasion of two exhibitions: 28 February–28 March 2021 North Sea De Queeste Art Trappistenweg 54 8978 Abele/Watou, Belgium dequeeste-art.be

ISBN: 9789464207149 Wettelijk depot nummer: D/2021/Kunsten.be vzw marcellehanselaar.com

8–30 May 2021 Long Is the Road Arundel Contemporary 53 High Street, Arundel West Sussex BN18 9AJ, UK arundelcontemporary.com Edition:

/300