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When the viewer of Martijn Schuppers’ paintings begins with what he encounters, from real existence interpreting his own idea, he could think of moon landscapes, microscopic shots or skin and cell structures or other surface structures from the microscopic photography.
Starting from this he may admire the virtuous gift to depict supposedly familiar structures. The viewer, like Umberto Eco suggests in his ‘The Open Work’, makes the imaginative connection between his world of experience and memory. This interpretive meaning is subjectively combined and done intentionally by the artist in his creative process. He could suggest, for example, a certain reference in the titles. On the other hand no described open plot, no narrative story is applied here, rather a factual reality is presented. The process described here by Eco is therefore not at all narrative, but technically an observation and recognition of something factual and subsequently its interpretive associative order.
Martijn Schuppers creates such suggestive paintings that the viewer instantly processes his complete recollection of images in order to classify them, arranging in the context of previous images. Images of landscapes of Mars from the applied research of the universe, of molecule structures of the cell biology. Here we see a symptomatic specification in the observation: the inner eye swings between a macro- and a micro-interpretation of an fragmented image presented with structure.
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