I feel Marcel Pinas’ need to make installations comes from his need to tell his story with more urgency. An installation offers him both literally and figuratively more space and means to do this. He first encounters the medium while in Jamaica and he no doubt familiarizes himself with it during his many international trips and when he is at the Rijksacademie in Amsterdam. In Suriname art circles the installation is still viewed as an alien concept. In 2010 a critic from De Ware Tijd newspaper still doubted, in response to the ‘Paramaribo SPAN’ exhibition, whether such works deserved the classification as art. ‘We should be careful about the speed with which and the way in which this form of modern art is allowed to become part of our society.’

Pinas begins hesitantly. When showing his paintings he places, here and there, an existing object. A decorated utensil or painted pieces of a dugout. They act as illustrations. Some time later they escape the context of the paintings and develop into autonomous works.