In October 2009 I worked as an artist-in-residence at project space De Overslag in Eindhoven, the Netherlands. On my observation walks through the city, I made photos of women seen from behind. These photos were the starting point for my murals at the walls of the project space.
A distinguishing feature is that both the depiction and the gesture of painting generate meaning. Her increasingly headstrong game regarding space and depth, which either emphasize or indeed undermine each other, heightens the intensity of the viewing experience. The painted reality appears more penetrating than reality itself. Her use of accessories, clothing and other details follows on from an art-historical convention. In Christian iconography, for instance, the saints are identifiable by their attributes, among other things. Rolina Nell also subtly incorporates typifying accessories. As contemporary attributes, in a general sense, these reveal something about the presumed personality of the women. On a deeper level, the serenity of the life-sized paintings conveys something of the mystical power reminiscent of old frescos and images of saints. By placing the female identity so centrally in her work, one might suspect a faint echo of feminism.