About Marco Goldenbeld

Marco Goldenbeld - in search of simplicity and shape

According to Marco Goldenbeld there can be no art without passion. Passion stands for drive and without drive he couldn’t continue doing this line of work. Time and time again he goes in search of the perfect shape; the reward is unknown and the way to it exciting, surprising and sometimes frustrating. The longing to make a sculpture that floats, keeps him going: ‘If I could think of a trick to allow sculptures to float I would have complete freedom’. Somewhere in between the tension of gravity and floating he experiences the freedom to create shapes and has dedicated almost 30 years to bringing the ideal shape into existence. ‘The triumph is worth the doubt twofold’.

Rietveld Academy
Marco Goldenbeld comes from an artistic family. You could even say being a sculptor is in his blood; both of his parents were sculptors. They worked both traditionally and figuratively. He remembers his father using traditional sculpting methods with his hands and being very strict with himself about his work. Although Marco was influenced by his parents from a young age and by figurative sculpture art, he didn’t want to define himself too early and chose to follow an education at the Rietveld Academy. In the mid nineteen seventies a transition took place at the academy from traditional to conceptual methods of sculpture art. Lecturers put pressure on the students to perform, ‘ Lecturers are chosen based on the quality of the work you go on to produce’. At the academy Marco Goldenbeld received classes from Jos Wong, Aart Rietbroek and Hein Mader.

In search of simplicity and shape
As a sculptor, shape is the most important element for Marco Goldenbeld. He calls the route to a new sculpture, ‘A search for simplicity and shape. He relates to other sculptors like Brancusi, Barbara Hepworth, Le Corbusier, Calatrava and Ghery.
‘I start at zero or progress with the theme from a previous sculpture. I get to work with metal, cardboard and modelling wax. This search leads to a discovery and a sculpture is born’. The sculpture ‘In elkaar geschoven’ (which means ‘Puzzled together’), was created purely from this kind of search for a shape. He literally used pieces of cardboard to make the shape. In this process he has to make choices, sometimes choices that the sculpture itself demands. ‘At the point of ‘puzzling’ the form together I decided to make a part blue to emphasise the presence of two identical parts’.
After searching and puzzling he puts a lot of time into making a scale model so he knows exactly how the sculpture is put together; just the technical details then still need to be worked out. Based on this scale model he defines the exact measurements and material types, the construction and order of work involved. ‘ Then it’s time to collect the materials and get to work’. 

The logic of creating
Marco Goldenbeld insists on a successful balance between material and shape in his work, this requires concentration and attention to detail. ‘In the end a sculpture creates itself. There is said to be certain logic inherent in the making process. It is this logic that I am looking for and try to latch onto’. This process essentially doesn’t change and he takes the experiences of the sculptures he has previously completed along with him. Such as the experience he has gained with light and shadow, two elements that define the space held by the sculpture. In this process of trial and error and game of adding and taking away, he has achieved a recognised Oeuvre of sculptures over the past 30 years. A frequently returning shape in his work is a triangle. A triangle has many capacities of being expressed in his work. For example in the sculptures ‘Balans’ (Balance) and ‘Gefouden driehoek’ (Folded triangle), which were exhibited during the Kunstroute (Art Route). ‘ When you are looking to find simplicity and excitement, the triangle is an unending source. ‘It appears at first subconsciously, later you become more conscious of using the triangle. From one point to another point there is a line, one more point and you have a plane…’.

Marco Goldenbeld often works on a commission basis. In this line of work the location or content of the commission is the starting point of developing a sculpture. Direct associations can often be made from the commission content. However, he always begins with a blank page. During the design process, shape and content will at some point make a connection, grow towards each other and eventually fit together. Commissions are more of a challenge for him than a hindrance. ‘Commissions give me the chance to work on a bigger scale. Steel gives me the possibilities. A sculpture should not just be seen but also experienced; you need to be able to walk around and through it. You experience the power of the shape and its strength. It is exciting to transform the content of a commission into my own visual language’.