Margreeth at her first birthday

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One of my bigger drawings





The main starting-point of the works regarding this

Website, is colour.

But the most important starting-point of these works

is of course this little girl in the pen, who I am, and

who climbed with her feet in the net, before she was

one year old, and managed to tumble herself out of

the pen by turning somersault ( I hope this is a good

translation, at least she came down on the ground,

outside the pen).

When I look at her I feel love for her and memories

from my early years of childhood cross my mind.

At that time, being only some years old, colour already

was something very important to me. Then I already

practised the intensive looking at colours and felt their

influence on my inner world.

Colours were associated with food for example. A

certain green in combination with a certain orange I

took with aversion, I couldn't understand how others

were able to string beads of these colours together.

They reminded me of carrots and peas and when you

had to eat these together I thought this was very nasty.

Now I like that food and these colours together.

So colours are directly connected with colour-associations

and colour-memories. For everyone those can be

different and during your life they can change. Because

you discover continually new areas in yourself and in

your life, and with that new colourfields.

I was about ten, eleven, twelve years old when I knitted

coloured woolen areas together. At that time my interest

was the choosing of the colours, putting the woollen balls

in a different order again and again. For me, this was

great and all-embracing. The eventually destiny of the

knitted piece was a secondary concern.

Then I knew, I want to do something like this later, but

it was only a vague dream. That I could really always do

this after my studytime at the Academy of Arts was more

beautiful than I could have imagined and something for

which I am grateful.

I myself think my paintings and drawings are very beautiful.

Maybe I like them better than anyone else can ever do.

Strictly what they do to me, how they touch me when I

look at them. Whether my work will be of any importance

in art-historical way, I can not really tell, for I am too much

emotionally involved in the work. But my hope is that this

will be the case indeed.

For all the time, I want to step out the circle of the known,

the familiar colourcombinations, those that go without

saying, and let myself fall, full of enthusiasm into a new

unknown colourworld. For inside myself, this little girl

is still tumbling.


Margreeth Oosterhof august 2004