I paint imaginary spaces inspired by my musings on the outside world and a mind's inner geography. Raised in France by French and Tibetan parents before I decided to move to New York a few years ago, my multicultural heritage as well as my experience of a life abroad are a powerful influence on my work, deepening my questionings on identity, territory and the feeling of dislocation in space and time.

Thinking of the world as a constellation of related forms, places, ideas and people, my pictorial language integrates organic forms with 3D topographic grids and graphic elements to communicate a different dimension of space and time. I push this language to highlight a sense of movement, the expression of natural forces and telluric events, a world always in flux with impermanence as a rule.

In light of this, 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 the world.
Today we know the surface of a world that has been meticulously pictured and mapped out and we can either cross it in few hours or observe every corner of it from behind a screen. However, the virtual world has entirely new and ever-evolving cartographic features, extending constantly the range of possibilities. It is a whole cosmos in the cosmos to explore, an increased reality refining boundaries with imagination.

While thinking about a way to contribute to this vision through painting, I started to integrate graphic elements and 3D grids into my painting process, creating more complex abstract spaces. Contrasting geometric spaces and graphic elements interact with varying organic elements and colors. Computerized 3D nets are made, projected and then hand-painted onto canvas or paper.
Painting rather than printing them allows me to dedicate time to space, impede a time which seems constantly accelerated, medidate. Sort of inner cartography, both pragmatic and poetic, organic and geometric elements unfold on the canvas to explore the tension between chaos and control, instinct and reason.

Marie-Dolma Chophel graduated of her Master's Dregree in Art in 2008, from the Ecole Nationale Supérieure des Beaux-Arts de Paris, France. Her work has been shown throughout the U.S., including recent exhibitions at 532 Gallery Thomas Jaeckel (New York), at the Queens Museum, the Fleming Museum and the Dorsky Museum. She also exhibited her work in London and Hong Kong at the Rossi & Rossi Gallery and in Paris. Marie-Dolma's works are held in private collections such as the Shelley and Donald Rubin Private Collection, NY. She has been awarded of a Residency at the Sam & Adele Golden Foundation for the Arts. She lives and works in New York and Paris.

"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)