Marius Schultz (born 1962) attended Brooks Institute of Photography in Santa Barbara, California.
Water has always fascinated him. Throughout his adult life it is always water, the Norwegian water that he returns to when seeking the close and calm. His photographs are characterized by the affiliation and the need to be near water, which also is a recurring theme in his work. In early exhibitions Schultz explored the human body in landscapes where water is always present. By giving the exhibitions titles like "Waves" he reveals his true reference. These photographs become metaphors depicting life and the waves in it. Schultz portrays the reality that surrounds us. He is engaged in the wholeness of nature; how things are linked together. His photographs of the water is surface appear as sequences of what we see around us. The reeds and the water represent the organic, the presence of nature which itself has pictorial qualities. Patterns are formed, and the reeds can be compared to the strokes of a brush across a canvas. The abstraction creates a separation between what one really sees and what is merely a playful and poetic composition made by nature; the reflection of the sky, the shadows of the reeds and the rippled surface complement each other and create esthetic expressions. Schultz’s photographs capture the spontaneous moment on the waters surface and are based on nature’s own exhibition and own premises. The ongoing playfulness is frozen even though nature itself always changes and time passes by.
Marius Schultz (f. 1962) har fotofaglig kunstutdanning fra Brooks Institute of Photoghraphy i USA.
Vann har alltid fascinert ham og i voksen alder er det vannet, det norske vannet, han vender tilbake til når han søker nærhet og ro. Fotografiene bærer preg av denne tilhørigheten og dragningen mot vann, som er et gjennomgangstema i hans fotografier. I tidligere utstillinger har Schultz utforsket menneskekroppen i landskap hvor havet hele tiden er til stede. Han har også arbeidet med bilder hvor vann ikke har vært visuelt
til stede, men hvor utstillingstitler som ”Waves” likevel avslører referansen til vann. Disse fotografiene blir derfor metaforer på bølgene i livet generelt.
Character II, Plate 06, Gobi 1931
Same space, 2012
Tree of life, 2014
The most beautiful flower, 2014
.Amelia and Isabella in the water, 2010
New Footsteps, 2016
Red Flow, 2016
Isa ved badetrapp
Reed next summer, 2009
No trees no future, 2015