Marie Aschehoug-Clauteaux: Colourful faces in unlikely places!
My love for chalk artists is becoming a bit of a ‘thing’; there’s just something about the impermanence of the work that I fall in love with!
I guess as an urban art lover you do have to get used to, or at least, tolerate that aspect of the work – it can pretty much be guaranteed that no piece outside is going to last for a particularly long time.
That’s just the nature of art in the street, but for many urban art lovers, it adds to the appeal. With most work there is a limited amount of time in which to view it – and none more so than work in chalk that can easily be washed away.
The most intriguing part of Marie’s work for me is the texture created with different coloured chalks and oil pastels on different surfaces within the urban space – pavements, brick walls, wooden fences, rusty metal… it seems to really bring the faces to life.
You don’t normally see a colourful, abstract-expressionist-style face on a dirty wall, and it’s this strange combination of contexts that, in my opinion, gives Marie’s work it’s appeal.
The unabashed femininity of the work and the beautifully rich colours only add to the beauty of the pieces, making them stand out more within their more urban setting.
I’ve watched with interest as Marie’s work has developed for some time now, and although I’ve not managed to see it with my own eyes or at least ask her more about it, I still find myself loving every piece I see that pops up as I scroll through Instagram.
The brightly coloured faces are her signature style – or are, at least, the image I see when I think of her work. All of them seem to be stuck in reverie, dreaming… which is both relatable and beautiful, especially when placed against the dirty urban grit.
This abstract-expressionist style reminds me of both Martina Shapiro and Manyoly.
I’m looking forward to seeing further work of hers, and where else she might place it… and if you want to check her work out try her Instagram or see her shop!
** All work and image copyright belongs to Marie Aschehoug-Clauteaux unless where otherwise stated **