Selected by Marcus Riggs

Tell us a bit about yourself

My name is Marcus Riggs, I’m a photographer, strategist and founder of The PRINCE Edit, an arts and culture magazine (online for now), and I’m currently based in Berlin :). 

You’ve selected three works from Bisou, what drew you to each?

'S Fleches Bleues' by Kumi Sugaï stood out to me for a couple of reasons. First, I discovered much of his work through Bisou, which makes it feel like a personal connection. Second, I had never seen this particular piece before, and right now it speaks to me the most. It feels like a snapshot of my life when I look at it from above. A winding path going in different directions, yet still moves from point A to point B. That’s how I see it.

Faan Olgers' 'FOV 827' immediately caught my attention because it reminded me of Montmartre in Paris. I used to live in a neighborhood below it called Saint Georges for a few years. This piece is like a more condensed-life like version of the former village. I also love how it reveals itself like any village, neighborhood, or city once you unpack what it has to offer outside its superficial presence. I’ve also lived in various cities all with varied and distinctive skylines. This piece allows one to deconstruct, expand, condense and shape shift its own skyline.

Jim Mooijekind’s painting 'Nothing Good Happens After Four' was one of my favorites at the “My House is Your House” show at 12 in Antwerp. It reminds me of myself, working late into the night on photography references and research, deep into the final hours of the creative process. :)

Would you display these together, or would they live in different spaces?

I would display them all in various areas of my living space for sure!

The Kumi Sugai piece would probably live in my entryway. With all the arrows pointing in different directions, it reminds me of the many little things I do before leaving the house, like “Oh, where are my headphones? Ah yes, crack open the window for some fresh air, close the bedroom door, start the washing machine,” and on and on.

The 'FOV 827' piece by Faan Olgers, I would place amongst and integrate with my plants in the common area somehow. It would be my way of giving life to the village.

'Nothing Good Happens After Four' would more than likely hang somewhere near my desk in my bedroom as an artistic mirror of what I potentially look like when the clock strikes 4AM.

Is there a piece from this selection you'd love to ask the artist a question about?

I would ask Faan Olgers, given the architectural nature of his work, if blueprints or technical drawings are created alongside the sketches before the structures are executed, as if building a piece of architecture.

"Sculpting with the eyes of a painter"

It has to be said that an object starts from a vague, not fixed idea, a kind of fantasy, if you will. The next step is making exploratory sketches, which help give those thoughts more shape.

The real decisions about form are made during the actual process of working. Often based purely on instinct and being honest with yourself. The advantage of assembling objects from parts is that fragments can be revised and reshaped again.

During the making process, new partial drawings are created as needed for the construction, but only if they’re necessary. I took a few photos of my sketches, it’s a bit like thinking on paper.