Page 50 - Winter Issue

Etienne Marquis is a Channel Island-based artist whose work delves into the twisted and visionary
world of contemporary surrealism. It embodies a gateway between the physical realm and that of the
mind alongside the shifted landscapes of his upbringing in the Channel Islands to his independence
on the Cornish coast. He recently graduated as a first-class honors student of Fine Art at Falmouth
University, where he simultaneously worked as a painting assistant and freelance artist. He has
conducted painting workshops, been cited in several art publications, and showcased work in
exhibitions throughout England and the Channel Islands.

‘’Queer Surrealism describes an alternate reality created through the conjunction of mind and matter. It is the projection
of queer psychic energy on the heteronormative world. This newfound reality that weaves between the psychological and
physical world, provides a sanctuary where queerness exists removed from its subservient role to hetero-normativity. For
me, Oil painting is such a refuge, A window into a world of queer surrealism where my psychic world can take physical
form. Gaining the ability to transport both the artist and the viewer. I take from traditional academic techniques such as
the chiaroscuro which allows me to illuminate a world of my creation. A warped realism that blends the lines of my
physical and psychological worlds. Many of my artistic inspirations derive from biblical social and cultural iconography
which I appropriate and weave into the narrative of my work.’’

How has growing up in the Channel Islands and later moving to the Cornish coast influenced you?
Growing up as a creative on a small island that greatly favors finance and ‘traditional’ forms of work, I often felt a great
disconnect from my peers and outcast from social circles as art was considered a lesser and unobtainable career path.
However, attending university in Cornwall allowed me to explore my identity, sexuality, and approach to work in ways
that would have been unimaginable back in Guernsey. My current work explores this journey and the flowing narratives
of freedom and exploration contrasted by the internal conflicts of my mind as it adjusts to these new ideas and feelings.
This contrast and internal conflict allow me to create work with a surreal undertone with complex narratives and twisted
symbolism.
You define ‘queer surrealism’ as a fusion of mind and matter, creating an alternate reality. Can you
describe how you bring this vision to life on the canvas?
As a coping mechanism brought about by internalized homophobia which I developed through my youth, I found myself
creating surrealist spaces in my day-to-day life where I would allow myself to express my queerness without the pressure
and shame of not conforming to heteronormativity. Through my independence at university, I began to expand these
pockets of reality as I grew more comfortable with myself and my surroundings. This allowed these narratives and queer
surrealist energy to bleed into my work.
What drew you specifically to oil as your primary medium?
Oil paints are very versatile and can be reworked to your preferred texture, opacity, and drying times through mediums
and thinners. This is one of the main reasons I gravitate towards them, they allow you to take full control over the
medium, to finetune it to your preference. I work very methodically and prefer to take my time with precise steps which
is only possible through oil paints slow drying times. I also find that oil on canvas in particular provides an excellent
texture that helps to push the illusion of skin and clothing which I often illustrate through my work.
You mention using chiaroscuro to illuminate your work. How does this technique help you blend the
physical and psychological aspects of your art?
The chiaroscuro technique of working from single light sources evokes an emotive response from the viewer as the piece
beckons you forward through the curiosity of the unseen. Not only does the technique reflect the confusing and surreal
contexts of the work itself by building insight and curiosity, but also provides me with control over the viewer's
perception. It allows me to light the work in a way that guides the viewer's eye. To produce a narrative and provide a
story for the viewer to follow as their eyes wander through the work.
How do you decide which symbols to use, and how do they shape the narratives of your Paintings?
As someone who enjoys history, literature, and the process of essay writing. I find the initial planning stages of a painting
very exciting as it allows me to immerse myself in connecting narratives and ideas into a final product. I often start with
the idea for the piece and then I identify contextual iconography and narratives that support elements of its design.

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