My work integrates 3D topography with organic forms and colors to create abstract landscapes of imaginary places, inspired by my musings on the outside world and a mind's inner geography.
Raised in France by French and Tibetan parents, my multicultural heritage was a continuous and powerful influence in my work. In light of this, my first impulse was to create a pictorial language that communicates a different dimension of space and time, thinking of the world as a constellation of related forms, places, ideas and people.
This language is what I use to highlight a sense of movement, natural forces, telluric events, impermanence, dislocation of place and identity issues.

More recently, I have taken an increasing interest in the impact of emerging technology on society and the way it transforms the human experience of the world. Technology allows us to have immediate access to a multitude of information and various ways to connect with people. Today we know the surface of a world that has been meticulously pictured and mapped out and we have the ability to cross it in few hours. However, the virtual world has entirely new and ever-evolving cartographic features that are being discovered everyday.
While thinking about a way to contribute to this vision through painting, I started to integrate 3D topography into my process. Computerized 3D grids are made, projected and then hand-painted onto canvas or paper. This process allows me to play with depth and perspective within the flat surface, utilizing the grid as a contrasting geometric space that can interact with varying organic forms and colors. It is the suspended skeleton of a territory ready to be confronted to "life" and its effects. The net of lines and shapes build a landscape undergoing mutations, opened to imminence of events and displacement.

Marie-Dolma Chophel - 2015

"These 3D Grid Worlds Defy Space and Time" - By DJ Pangburn - Aug 29 2014 thecreatorsproject.vice.com

Dislocation of place and identity across space and time might be the operating order of our modern world. Technological effects-high velocity travel, instantaneous Internet, media-defined identities, and so on-create multiples of billions of worlds, where we never quite know who we are, where we're located, or where we're heading.

Within this milieu, New York City-based artist Marie-Dolma Chophel is out there mapping this highly fragmented, abstracted, and always in flux territory. As Chophel will tell you, it has a little to do with being born out of the "interbreeding" between French and Tibetan parents. Identity within space-time interested her from a very early age. And so Chophel's painted landscapes have the look of static 3D-rendered images. Grids, or "nets" and "suspended skeletons" as she variously calls them, unfold and recede along vast imaginary distances.

To create some of her most recent paintings's nets, Chophel uses computer software to create her 3D grids, then painstakingly transfers them line by line onto canvas or inked paper with a projector.
In Melting, Chophel imagines a grid of mountains succumbing to some entropic disintegration, all set against an impossibly surreal atmosphere. Untitled features a Tron-esque grid mapped horizontally, receding toward a vanishing point, upon which snowcapped mountains sit like massive pieces on a chess board.

"The motifs I use depict spaces without geographic reference-chronicles of imaginary lands inspired by topography, ancient cartography, Asian estamp and landscape painting," Chophel writes on her website. "My first impulse was to develop a language of forms that could communicate the feeling of a different dimension of space-time, thinking the world as a constellation of related forms, places, ideas and people." "Today we know the surface of a world that has already been entirely mapped out and pictured, and we can cross it in few hours," she adds. "But it stays intangible as traveling is not truly 'knowing' the world but experiencing it as a simulacrum."

As Chophel reminds us, the world we see on our mobile devices, on Google Maps, in the cinema, or on the manifold vistas of the Internet-none of it's real. Like Disney World, with these new digital territories, we try to replace our own realities. Chophel, for her part, is trying to make sense of our increasingly simulated world and, ironically, adding more facets to it in the process. She is, like a science fiction author, a world builder.

       Some painters paint landscapes, Marie-Dolma Chophel paints the din of the world; of the landscapes, she makes formation visible, giving the act of painting an almost divine resonance. The young artist's brush strokes are as many earthquakes and gusts of wind that alter the land. Painting becomes telluric and each brush stroke leads to natural disasters and continental drift.
       Any work you look at strikes you: it is a pictural creation of the world. Colors pour on the canvas as multicolored cataracts. Mountainous waves come lapping a few strips of land covered with smoky nuances. Volcanic pigments explode into fumaroles and tinge the firmament. The drips of paint turn into stalagmites, into molten colors or acid-like rains that deepen the ground. Geysers spit out burning glacis while radioactive touches set the flora and the air ablaze. During a lull, nothern lights illuminate the sky, and their incredible colorings enchant our eyes still fascinated with this chaos of the canvas and of the earth. It spurts, it spreads into puddles, it is the creation and the end of the world, the alpha and the omega. The paint turns into a tectonic force, and is seen as a creative disaster that shapes the world and the canvas.

Laure SALMONA - 2011       (Traduction to english: Johanne CHAPEAU)