from the actual photographs of 1940s New York, through drawings of lunar eclipses and planets. Further, through to the circular holes in buildings by Gordon Matta-Clark, in his notorious New York interventions in the 1960íes, and finally to the 1920s constructivism era, Bauhaus etc.I wanted to create a closed system between the photo, the gallery space and my composition with colored planes, wooden sticks, and a mirror.” The artist has given rise to a self-contained universe, a room of one’s own. While creating a zone of transformation, everything becomes linked by its own inherent logic.

Marleen Sleeuwits is inspired by impersonal environments, places that could be anywhere and nowhere, such as vacant zones in airports, unoccupied corridors of hotels, and empty rooms in office buildings. She creates contradictions in spatial orientation and then photographs the end results. The installations of Marleen Sleeuwits blur the dividing lines between fi tion and reality.  The artist approach of the gallery space is a sculptural one: “I want to distort perceptible reality. In this way I question the materials and places we find ourselves in and how we relate to them, finding a means of visualizing the identity of these voids and connecting to them in novel ways. Through structural contradiction, illusion, and the manipulation of scale, I aim to transform viewers’ awareness of their surroundings. I see myself as an outsider who invites audiences to look again, who breathes unexpected new life into a familiar, dead reality. I transport the viewer away from the everyday world into an inner space full of wonder.” For the gallery installation, Marleen Sleeuwits chooses specific materials: Neon orange plastic, mirror foil, prints of concrete on pink paper using the ceiling as the structure: from every angle, a new composition will  be created and the people may stand inside the installation.