The Studio at the Bridge

In a studio situated at the base of the Van Brienenoordbrug in Rotterdam, Marjolijn van den Assem works through series that act as a form of remembrance. Her process often involves a deep connection to the writings of Friedrich Nietzsche, tracing the paths the philosopher once walked through places like Naumburg, Nice, and Turin. She does not merely observe these landscapes; she attempts to reconstruct them through layers of graphite, ink, and physical intervention. The work is built upon the idea of following footsteps, seeking out the specific greens and blues of the Alpine lakes or the flow of the Saale river.

Her method relies on repetition and variation. Many pieces are part of strictly organized series, often sharing identical dimensions to create a geometric rhythm when displayed together. These collections might focus on the Italian countryside or the movements of a wanderer. In her hands, the act of making becomes a way to capture what was seen or felt, using materials that allow for both delicate marks and heavy textures.

Materials and Marks

The physical surface of her work carries the evidence of her touch. She uses a range of tools, from 6H to 8B pencils and graphite styluses to more forceful implements. On museum board and cardboard, she scratches, cuts, and carves, sometimes even working into aluminium. Her use of Indian ink and thin graphite lines is frequently paired with the structural elements of folded paper sculptures held together by staples. These pieces often exist in a state between two-dimensional drawing and three-dimensional object.

On linen canvas, her approach shifts toward the weight of oil paint. Some surfaces remain translucent and sparse, while others are built up with thick, impasto layers that turn the canvas itself into a sculptural form. The color palette moves between the starkness of black and white and more grounded tones like ocher, muddy brown, and sunflower yellow, occasionally interrupted by soft baby pink or deep blue. This movement between abstraction and figuration is central to her practice.

Recognition and Collections

The precision and depth of her work have been noted through various honors and placements in permanent collections. In 2019, she received the Hendrik Chabotprijs. Her pieces are held in significant locations, including:

• Museum Boijmans Van Beuningen (objects in storage)
• Chabot Museum Rotterdam

Her work, such as the series Via Campagno, demonstrates a commitment to a method of "restoring" or "rethinking" a landscape. Whether through the scratching of a surface or the careful application of ink, the results are personal explorations of thought and sight.