Marnie Weber


	(...)Now I try not to use images of the past because I'm trying to have work that appears timeless, when it is seen it should be hard to pinpoint when it was made. I try to have the feeling come across when one sees really good outsider art, «where the hell did that come from and who did it»? It’s dificult but more challenging for me than recycling the past. (...) The delirious or hallucinogenic is very apparent in my work but it is more concerned with transporting myself out of reality (and in turn the viewer) rather than drug references. I think we are only living at the tip of an iceberg in this life and there are so many realities that go unexplored and unaddressed. In my work I try to create other worlds is only to touch upon other experiences, most commonly the terrain of the subconscious. That is interesting the the French interpretation of the 70's isn't dealing with rock culture of transgression. Maybe because yours is a more literate society. For example as teenagers we weren't exposed to Jean Genet but to David Bowie. Music was the only place where sexuality and unbridled emotion were being expressed. As far as my work goes since I was involved in performance for so many years (taking on different characters and animal-like people) all of the theatrical rock of the 70's was so important to me. I mostly went to concerts were the visuals and costumes were given equal importance and care as the music. (...) for the magazine Tilt, Frac Aquitaine, Bordeaux ©2004

(...)Now I try not to use images of the past because I'm trying to have work that appears timeless, when it is seen it should be hard to pinpoint when it was made. I try to have the feeling come across when one sees really good outsider art, «where the hell did that come from and who did it»? It’s dificult but more challenging for me than recycling the past.

(...)

The delirious or hallucinogenic is very apparent in my work but it is more concerned with transporting myself out of reality (and in turn the
viewer) rather than drug references. I think we are only living at the tip of an iceberg in this life and there are so many realities that go
unexplored and unaddressed. In my work I try to create other worlds is only to touch upon other experiences, most commonly the terrain of the subconscious.

That is interesting the the French interpretation of the 70's isn't dealing with rock culture of transgression. Maybe because yours is a
more literate society. For example as teenagers we weren't exposed to Jean Genet but to David Bowie. Music was the only place where sexuality
and unbridled emotion were being expressed. As far as my work goes since I was involved in performance for so many years (taking on different characters and animal-like people) all of the theatrical rock of the 70's was so important to me. I mostly went to concerts were the visuals and costumes were given equal importance and care as the music.

(...)