Amsterdam, The Netherlands
0031 (0) 6 142 98 169
Paméla Maria (1965) has been drawing ever since she was a child. She studied classical arts at the Academy of Fine Arts in Hasselt (Belgium) and obtained her certificate in 1983. She then studied Industrial Design at the Design Academy Eindhoven, first studying at the textile department and then at the environmental design department, obtaining her certificate in 1989.
In 1990, she received a starting grant from the Dutch Government via the Mondriaan Fund for the further development of her work.
In the subsequent years, Paméla worked as a designer and consultant for various Dutch municipal authorities and company’s.
In 1998 Paméla chose to focus on her original passion: the visual arts. In 2020 she received the ‘Woman art Award 2020’.
She lives and works in Amsterdam, the Netherlands. Her work is on show in solo and group expositions internationally at gallery’s and artfairs. She also works on commissions.
Paméla Maria makes collages and reliëfs with different materials and techniques such as photography, paint and yarn.
As for many Dutch painters throughout the centuries, the beauty of the Dutch landscape is an important source of inspiration for her. In that tradition she examines the relationship between nature and abstraction. Zooming in on the endless wealth of patterns, structures, color shades and light, she captures details in the (urban) landscape with her camera.
She questions the meaning of those intimate moments by cutting up, painting over, and wrapping the image. This method helps her to create order and structure in the chaos of live, to get a grip on the multitude of impressions.
For Paméla, working is a process from reality to geometric or expressionistic proportions. Something she uses intuitively but especially investigative. The use of colors in paint and detailed texture is characteristic for the translation of reality and determine the character of the work. The yarn picks up details, directs the eye and adds a third dimension.
The almost obsessive repetition of shapes and patterns, radiates a meditative quality in her compositions. And the process shows the importance of ‘attention’ in a world full of distraction.
“Attention gives meaning and makes life valuable.”
Every work is the result of trying and experimenting with form, material and color.For example the ‘Reflections’ series is inspired by how the water and the air influence each other and form an endless wealth of color shades. The series ‘Vertical City’ is rooted in the strict rhythm of (office) facades where the idea of space or foreground/background is not defined by shape or color, but only by the texture.
The development starts with the spatial objects: the so-called assemblages from the nineties and ’00s, in which dreams and associations were captured in three dimensions. Story-boxes which depict the idea of the apparent contradiction of reality: ‘nothing is what it seems to be’.
The smaller story-boxes, which are documented in the book “Pamdorado”, are as a diary, a sketchbook and an associative, poetic song of praise to the world around her. From the everyday of litter, children’s toys, paraphernalia from markets and holidays to personal memories (wedding ring, broche of grandmother).
‘Glögg’ is a key work: from that point the works developed from surrealistic to abstraction with the reliëfs. ‘Me too’ (2006) and ‘U zoekt iets’ (2005) are typical works for the transition period.
The reliëfs are made with yarn, acrylic paint and paper/photo that portray the tranquil landscape of Holland. The seemingly flat surface changes into a relief with several dimensions. The subtle use of colours and detailed texture is characteristic for the translation of reality and determine the character of the work.
For example: The ‘Reflections’ and ‘Moving’ series for example are inspired by how the water and the air influence each other and form an endless wealth of color shades. ‘Moving colours’ serie is based on tree stands of plane trees.
The series ‘Vertical City’ and ‘Twilight’ are rooted in the strict rhythm of (office) facades where the idea of space or foreground/background is not defined by shape or color, but only by the texture. The series ‘Shadows of pink (or white, blue, green) are reflections of the landscape in various seasons and period of the day.
The ‘Rainy days’ works are made with acrylic painted paper and yarn in many shades of blue or green that portray the beauty of grey, wet days. Everything is light, we are surrounded by beauty. Nature is always beautiful
Paintings: Temptation and vulnerability are subjects in her recent works.