A glimpse into the studio of an artist often leads to a feeling of intimacy and voyeurism. A brief insight is given into how the work is made. But it is glimpse that seldom adds anything essential to the work. That is a strong argument for not divulging any of the trade secrets and preparations of the artist.
Neither does the knowledge that the artist has sustained a mental blow add anything to the work. What is the observer supposed to do with the personal affairs of the maker if they produce meanings that are not pertinent? Nevertheless, art is also therapy. That is nothing new. It's something we have to deal with throughout the day, but in art, ridding oneself of anguish can be freely practised and in contemporary art can even be chosen as a theme. Marijke van Warmerdam has always been averse to that, in order to avoid misinterpretations in the reception of a work. They distract from the issue.
In the exhibition 'Past the blow' a personal experience of the artist gave rise to a new series of works in which a mental blow is taken in a more universal manner. With this, Marijke van Warmerdam breaks with the idea that the personal aspect of her art is irrelevant.