Marielin Simons graduated in 2015 from the Studio Art program at Minerva Art Academy in Groningen, The Netherlands.
Having grown up in the lush countryside of Drenthe, Simons bears a great love for nature, especially for the woodlands in which she roamed endlessly. The forest spoke to her through the beams of light that fall through the canopy, the different smells of soil and sap, the tell-tale tones of the seasons, and the orchestra of wind and wilderness that surrounds each root and branch. It was during her time at the academy of art that this connection with the landscape flourished, and came to fruition.
Through a variety of means and manners, Simons explores her ability to reconstruct the existing landscape. By photographing it, she can retrieve and reshape the natural world in the solace of her studio. As she manipulates these images, they gain new elements. Elements that find their origin in nature itself, and which form the ingredients of enscenated worlds that match her imaginative and fantastical conception of the great outdoors.   
With a level of precision and skill that befit this would-be architect of the landscape, Simons recreates her new realities in the form of dioramas and installations.
She always gives her landscapes recognizable and realistic qualities, while at the same time alienating, mystifying, and romanticising them.
''Ideal Landscape'' is a term that is often used in her work.
This passion-driven quest for nature untouched is reminiscent of Romanticists of the 18th and 19th century. Similar to them, Simons believes that ''true wilderness'' has been lost; everything is instead cultivated, contained, and constructed - now more than ever. Her work then becomes a search to find authenticity and purity of form, or to even magnify these qualities. Her work forces the viewer to redefine nature, but simultaneously challenges them to immerse and lose themselves therein; to embrace and be embraced by the beauty that blooms in the wild blue yonder.  
Simons' installations of mirroring glass surround the audience with dozens of trees, repeated through the infinity effect that the mirrors produce. One finds oneself reeling with the overwhelming impression of nature and confused by the repetition of mirror-images, even though the landscape itself feels familiar and soothing.
The photographical works of Simons constitute a series of constructed miniature landscapes in which reality is dramatized and over-romanticized. The ambiguous nature of her work can again be observed here, as recognition and theatricality compete with one another in a myth of alienation and allure. 
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