Several preparatory drawings where made for each painting.
You can browse through this portfolio on request.
Miriam Maes Portfolios Sedimentary Enigma Sedimentary Enigma I 100 x 120 cm
Miriam Maes Portfolios Sedimentary Enigma Sedimentary Enigma III 100 x 120 cm
Miriam Maes Portfolios Sedimentary Enigma Sedimentary Enigma II 100 x 120 cm
Miriam Maes Portfolios Sedimentary Enigma Sedimentary Enigma V 100 x 120 cm
Miriam Maes Portfolios Sedimentary Enigma Sedimentary Enigma IV 100 x 120 cm
Miriam Maes Portfolios Sedimentary Enigma Sedimentary Enigma VI 100 x 120 cm
Miriam Maes Portfolios Sedimentary Enigma Sedimentary Enigma VII 100 x 120 cm
Miriam Maes Portfolios Sedimentary Enigma Sedimentary Enigma VIII 100 x 120 cm
Click on a thumbnail to enlarge image.

These paintings have emerged from a study and an emotional connection with the various sediments of the coastal region.

The Flemish coastal plain was mainly formed by the relative sea-level movement. In the Atlanticum, 5000 to 9000 years ago, a thick layer of deposits formed, which often occurred between peat layers. The peat was formed over many years during regressions in which the influence of the sea would be declined.
In the subsequent Subatlanticum, new transgressions took place, making a layered young sea.

Subatlanticum is the youngest of the Holocene era that dates back to 14,000 years ...

When we now dig two feet deep, we arrive at the sediment layer of shells, remains of marine animals, algae and sand ... It is remarkable and touching that we can let it slide ... between our fingers.

This layer dates from the time - 2,000 years ago - when the Roman legionaries, with their shiny helmets and iron swords, build the first settlements on the sand ridge as an extension of their territory ...

Currently we are looking below the surface for a sediment layer, to cover-up dangerous nuclear waste from nuclear power plants and atomic bombs that will destroy the purity and honesty of Mother Earth ...

Can we let this happen ... ??

Before the creation of the paintings of a new theme, I draw at least thirty preliminary sketches.

By this way I can fully empathize with the theme. That is very important to me, in order to process the created emotions.

After some further study of the different colors of the sedimentary layers, the emotions formed therefrom, I realized that I have excavated deeply into the past.

I hope to stem the dumping of nuclear waste with these paintings.

The paintings are the fruit of a long and intense process, which ultimately was completed by an inner compulsion.

The eternal return of the equivalent is tangible, and yet elusive ...

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