A Studio visit.
In Marc Muller's studio, the walls are full of drawings. There are drawings everywhere, even on tables. Muller works on many drawings at the same time, a system of drawings. It is a labour-intensive work, for hours he draws with pencil (HB-9B) on different formats. The paper has a not too coarse grain, the glossy surface of ink-black surfaces is given structure by the layers of pencil. Sometimes he draws until the paper is damaged. The drawings are black-and-white and with many greys, there is no further colour. Colour is a distraction. The drawings are layered, parts are erased, redrawn, a shape is slightly shifted again. Because the traces of the work are shown, the drawings become history.
Muller calls the drawings on which he works a 'working body' and a 'house'.
They are a house in which he can think, move and think through. Adding an extra space. Slowly the drawings expand, driven by associations and intuition. As long as possible he doesn't want to know where it's going, it has to remain unprecedented. To be unfathomable. Muller searches for a sublime state, he works thinking. Without a subject.
There are reasons. The hard to understand, heavy thoughts of Heidegger and Kant. The Palace Of Dreams, a book by Ismail Kadare.
A fictitious map calls for a black diamond shape. Next to it comes a round floor plan, drawn several times on top of each other. A system of tubes grows on separate A4 sheets. There is an astroide, plant forms break through the architecture.
"Possible places for architecture", says Muller. Architecture lies in thinking, creates space for thinking, non-linear, loose, back and forth. It is thinking in branching, looking for a new possibility. It's about the question. The question requires not being fixed, it is not about understanding, there is a next question. Until the drawings are unfinished.
(Peter Koole, 2016)