Marie T. Hermann
ABOUT THE ARTIST
Marie Torbensdatter Hermann (born 1979, Copenhagen, Denmark) lives and works in Detroit, USA. She moved to London, UK, in 2000 and got her BA in art from The University of Westminster in 2003. She then worked as a studio manager for the British artist Edmund de Waal from 2003-2007, after which she studied at Royal College of Art in London and got her MFA in 2009.
In 2014 she was part of the exhibition, Another Look at Detroit: Parts 1 and 2, curated by Todd Levin at Marianne Boesky Gallery and Marlborough Chelsea. Solo exhibitions include “A Gentle Blow to the Rock” at Re:view gallery (Detroit) and Galerie Nec (Paris, France); “Stillness in the Glorious Wilderness” at Gallery Matin (Los Angeles); “The only thing I can think about is yellow” at Egg (London); “To The legion of the Lost” (London); and “A joyful gathering of a defenceless legion” in Los Angeles. In addition to numerous group exhibitions in USA, Denmark, Italy, China, Sweeden and Germany, her work is represented in the collections of The Danish Art Foundation, The Denver Art Museum, the Servre Museum in France, The Jingdezhen Ceramic Art Museum in China, and The Rothschild Collection in Waddesdon Manor, UK. She was awarded the 2013 Kresge Artist Fellowships, the Danish Art Foundation grant in 2014, 2012 and 2009, and the Annie and Otto Johs. Detlefs grant for young experimental ceramic artist in 2010. Hermann’s work has been reviewed by major publications like Artforum, the Daily Beast, Blueprint, and Ceramic Review. She is also curator and co-director of Sixpm project space in the UK, and in 2010 she was one of the juries at the Biennale Internationale de Vallauris, France. She is currently a faculty at College for Creative Studies in Detroit.
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BIRDS IN MY HAIR
Presented as part of the Art X Detroit 2015 Visual Arts Exhibition, the installation Birds in My Hair is a new group of sculptures Marie T. Hermann has been working on over the last year. Through the interactive installation Yours, Mine, Ours, visitors bring a cup from their personal collection to a location to exchange with functional functional handmade porcelain cups created and numbered by Hermann. Over the duration of the exhibition, the collection of 100 cups slowly changes in its entirety, commenting on the creation of new relationships between an audience and previously recognizable objects.
Marie Hermann creates fictional scenarios, open-ended scenes from a possible domestic environment, where objects exist in a sort of liminal space between an easily recognizable everyday object, evoking familiar sensations, and a suddenly ambiguous form that requires a new interpretation and the creation of new relationships.
In the objects that make up Hermann’s scenes, function is almost always denied, with tops often enclosed, making the prospect of filling up the space inside the object no longer a possibility. By denying the objects’ assumed function, she induces a reflection towards the subtleties of these forms and the relationships we have developed with them.
Always working with groupings, rather than one object at a time, Hermann focuses on the relationships that arise between the objects, the subtleties of space, and the final delicate compositions that allow their parts to come into existence.