Merel Dekkers (1990) grew up in Spoordonk and now lives and works in Goirle, the Netherlands. Her interest in art began to develop during her teens, when she studied with Oirschot-based artist Carine Aartsen. The painting and drawing lessons she took there ran alongside her vocational studies at SintLucas and her later studies at AMFI (Amsterdam Fashion Institute), where she graduated in fashion design. Today, Merel combines her work as a footwear designer with her first love: art.
Her work is rooted in surrealist hyperrealism, with nature as a constant underlying theme. Her drawings are often almost indistinguishable from photographs, yet they go a step further, moving beyond reality to create a new narrative. Psychology and mythology also feature in her work, both having held a strong fascination for her since childhood.
Merel often draws inspiration from moving images. She enjoys going to arthouse cinemas and watching international television series, both of which inform her work. Nature, psychology and mythology are recurring themes in these films and series, and often find their way into her art.
Merel has explored various art forms since her teens, but her preferred mediums are charcoal, pencil and pastel. Alongside entirely monochrome works, her more recent pieces often combine black and white with colour, with strong contrasts taking centre stage.
I have been creating art since my teens. Whether I’m painting, working with leather or making costumes, if something fascinates me, I want to master it. But nothing feels as immediate as a pencil. Whether I use charcoal, pastel or graphite, the directness of the medium takes precedence. There is no preparation and no mess to deal with afterwards. All I need is a pencil and a piece of paper.
I begin without doubt or hesitation, slouched on the sofa or bent over a large drawing. I feel completely in control, with no fear of making mistakes or doubt in my ability – just the challenge of capturing an idea on paper. An image drifts through my mind, but it is always vague, never sharply defined. For a brief moment, it comes into focus, only to fade away again.
With my nose almost touching the paper, I draw the tiniest details I can see. These minute elements have my undivided attention. Up close, everything appears abstract, as though an entire world is unfolding within the details. Every centimetre becomes a landscape of textures and contrasts. Only when I step back can I see whether everything comes together as a convincing whole. That is when I know whether I have captured the image as I intended.
When I draw, I enter a state of flow. Everything falls into place. Sometimes, however, that feeling eludes me, and I find myself struggling with the work in front of me. But the moment I realise I am going to make it work, when I can already picture the finished piece, I feel a surge of euphoria. I pursue that vision until the work is complete. Once finished, the work no longer belongs to me alone. It is up to the viewer to form their own connection with it.
A recurring theme in my work is the relationship between humans and nature, often with a surreal undertone. My drawings frequently centre on a figure that radiates a particular strength. Above all, my work is always about telling a story.
