Blog Archives

The Irrelevance of Everything (Oil on cotton cloth mounted on plywood, 36.3cm x 51.6cm, Dirk Marwig 2017)

The Irrelevance of Everything

Time, Space, basically Everything is Irrelevant. Important is that you feel alive, now.

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Dirk Marwig ‘All work from 2016’ (Paintings, Drawings, Objects, Woodcuts and Furniture)

dirk-marwig-work-2016

2016 was a very strange year for me. Nevertheless 31 pieces came into being. All work shown in the sequence of their creation from the Top Left(older) to the Bottom Right(newest). My mind works in a peculiar way, as you

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The Beauty of the Undefined and Indefinite (Oil on canvas, 204.5cm x 166.3cm, Dirk Marwig 2016)

the-beauty-of-the-undefined

This large canvas invites the spectator to enter and to be part of the composition. This is only a photo but when you stand in front of this large painting, you immediately form part of it and enter the world

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Face Off (Oil on canvas, 167.5cm x 106.5cm, Dirk Marwig 2016)

Face Off

Flat as a floor plan: the architecture of strategy mixed with uncertainty in a “one on one” Face Off.

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Pizzazz (Oil on canvas, 95.5cm x 154.2cm, Dirk Marwig 2016)

Pizzazz

It’s the 13th of July and I’m still so very slow working due to my knee injury but today I finally finished this new painting. Highly my kind of “deconstructivism” showing my idea of cool “Pizzazz”ness. This painting is based

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Failed Escape (Oil on canvas, 153.5cm x 122.5cm, Dirk Marwig 2015)

Failed Escape
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SAFE ZONE (Oil on canvas, 35.5cm x 25.7cm, Dirk Marwig 2008)

PROTECTION ZONE-2008
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THE BIG PAINTING (Oil on canvas, 200cm x 155cm, Dirk Marwig 1992)

Big Painting 1993 new Photo (A)

“I used this painting as a “Map”,”Blueprint” or “Study” for all the Objects I constructed in the next 7 years after 1992. It took me 6 months to paint, 8-10 hours a day. I also was pretty poor at the

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Flat and Off #2 (Oil on canvas mounted on plywood, 38cm x 48.5cm, Dirk Marwig 2008)

Flat and Off good

*This was also an experiment from 2008: I never liked medieval art- it was usually flat and basically all elements in the paintings depicting religious or feudal scenes were “off”… but somehow there was ‘something’ that did touch me in

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