One of the most interesting elements of Marie’s recent work is her bold use of colour, especially those not typically associated with her natural scenes. In one piece, fluorescent pink ducks glide across a rippling lake, and in another, deep pink and yellow hues stain the sky and wide open sea, a figure ready to jump into the warm and inviting water. This interesting trajectory, Marie explains, is rooted in her recent discovery of Risograph printing, a method that lends itself well to bold and bright use of colour.
But, the real means by which Marie crafts such a sense of atmosphere in her work is her depictions of latter parts of the day. Her dreamy, daytime scenes shift seamlessly into dusky, purple skied night. “What I like is the dramatic aspect of the evening”, Marie explains, “it’s melancholic and mysterious and it drives a story so well.” This ability to shift the tone of her work is expertly demonstrated in her painted animation film, Noir Soleil. A chilling story, the film delves into natural disasters, mysterious past lives and the “unexpected journey” of a father and daughter. This intriguing story, alongside the carefully crafted music and a slowly deepening sense of intrigue, builds suspense brilliantly, contrasting drastically with the idyllic nature of her illustrations and creating a sense that there is much more that lies beneath the surface of Marie’s glistening seas…
Wanting for “the viewer to feel like they were in front of the painting”, Marie ensured the film had an organic feel, with visible brushstrokes and subtle movements throughout. And, keeping her personal touch central certainly paid off. Premiering at the Festival de Cannes International Critics Week, for Marie the film is a vital step in her creative journey. Now looking to even further expand her repertoire of mediums, in the coming few years Marie tells us that she is excited to try her hand at animating a feature-length film.
