‘In Chris Meulemans’ (b. 1967) drawings, we can discern all kinds of references or possible (pieces of) representations. But they present themselves just as much as concrete things or constructions, never concealing the way they were made. (...) In her daily artistic practice (in which she makes paintings as well as drawings), she collects pieces of paper, which she organizes and keeps in boxes, sorted by colour, paper type, atmosphere, and so on. This is partly the raw material for her drawings, just as she has tubes of paint at her disposal as a painter. (...) Meulemans works very intuitively, letting herself be guided by her hand and by the materials she has at hand. Some actions – marks, brushstrokes, cut-and-paste work – seem to stand on their own, some look like the direct result of a reflex, while others are placed somewhat more thoughtfully next to or behind or on top of each other, until they form a long line, a grid or an elementary pattern.’
From: ‘On the fresh poetry of collage in Chris Meulemans’ drawings’, Frank Maes in: ‘Puzzling The Laughing Petals’
