Mariëlle Videler - Jump to the beat of the animal feet

In her installation Jump to the beat of the animal feet, Mariëlle Videler is looking for a reassessment of our relationship to animals. Her starting point was images of hunting and prehistoric images of animals. She visually translates images into a modern day cosmology of plants and animals. She draws European animals, mostly from her own urban environment, such as rats, ants, parakeets and a domestic cat.
The installation in Gallery Lumen Travo consists of six large circular applications of textile and seeds, one central large rectangular shape and a number of smaller objects, such as a wire strung seeds. The idea for this installation was created during the study of prehistoric rock paintings that are situated in the national park Serra da Capri Vara, Brazil. In 2012, she first saw images of these rock paintings in the University of São Paulo, in the thesis of Brazilian archaeologist Niède Guidon (1983). The rock paintings were made by different groups of people at different times, along a route that was later used by the colonists. The paintings were often painted over during the years. Remarkably, the depicted animals were portrayed while in motion, at height of action, minimal lines were used and they were not always shown in logical proportion to each other and to humans. The depiction of animals and rituals, such as a dance with animal masks, plays an important role in Indigenous cultures, maintaining a connection and balance with nature.


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		Jump to the beat of the animal feet 2015 installation, solo exhibition, Lumen Travo Gallery The installation consists of six large circular textile applications, one central large wall piece, a number of small objects, such as seeds strung on wire and drawings. Circles: 1.20 m in diameter, wall piece 6.43 x 3.00 m







		In her installation Jump to the beat of the animal feet, Mariëlle Videler is looking for a reassessment of our relationship to animals. Her starting point was images of hunting and prehistoric images of animals. She visually translates images into a modern day cosmology of plants and animals. She draws European animals, mostly from her own urban environment, such as rats, ants, parakeets and a domestic cat. The installation in Gallery Lumen Travo consists of six large circular applications of textile and seeds, one central large rectangular shape and a number of smaller objects, such as a wire strung seeds. The idea for this installation was created during the study of prehistoric rock paintings that are situated in the national park Serra da Capri Vara, Brazil. In 2012, she first saw images of these rock paintings in the University of São Paulo, in the thesis of Brazilian archaeologist Niède Guidon (1983). The rock paintings were made by different groups of people at different times, along a route that was later used by the colonists. The paintings were often painted over during the years. Remarkably, the depicted animals were portrayed while in motion, at height of action, minimal lines were used and they were not always shown in logical proportion to each other and to humans. The depiction of animals and rituals, such as a dance with animal masks, plays an important role in Indigenous cultures, maintaining a connection and balance with nature.