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Marina Rey

Marina lives and works in Aix-en-Provence. She is a self-taught artist and has created her own very personal style. Her first exhibition dates back to 2002. Her encounter with the painter Jacques Loiseau in 2007 was one of the highlights of her career. In 2009, her work was awarded a prize at the Symposium for Outdoor Painting, organized by her ...

Marina lives and works in Aix-en-Provence. She is a self-taught artist and has created her own very personal style. Her first exhibition dates back to 2002. Her encounter with the painter Jacques Loiseau in 2007 was one of the highlights of her career. In 2009, her work was awarded a prize at the Symposium for Outdoor Painting, organized by her hometown.
Her artistic approach is a mix of several sources of inspiration. She shares an attraction to bright warm colours with Le Pontormo (Italian painter, sixteenth century), Paul Gauguin (French painter, nineteenth century), Theo Tobiasse (twentieth – twenty-first centuries) and Corneille (Belgian artist of Dutch origin, twentieth – twenty-first centuries). Her brush tends towards fantasy much as that of Marc Chagall (twentieth century) or Rousseau (twentieth – twenty-first centuries). Her mix of colours and arrangement of shapes is reminiscent of the cubism of Paul Cézanne and Georges Braque (French painters, nineteenth – twentieth centuries) and Pablo Picasso (Spanish painter, twentieth century).
Marina favours oil for its brightness and sensuality, and she uses a knife for its speed of execution. To delineate the different areas of paint, she borrows the technique of dark outlining of artists such as Henri de Toulouse-Lautrec and Louis Anquetin (French artists, nineteenth - twentieth centuries). Like stained glass, her delicate compositions are divided into several separate compartments. Some areas are not compartmentalized to allow different colours to blend and marry. Seen from afar, this geometric effect of space reveals an abstract pattern.
Marina’s art charms us with its joyful universe full of intoxicating colours where poetry trumps reality. Her apparent naivety reveals a communicative good humour. The artist proclaims an optimistic view of life: "Because the world in which we live is difficult, my feelings naturally translate in contrast: relaxing and colourful landscapes, nudes often at rest, and still lifes who do not wish to be still."

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