Solo Exhibition, Galleri OSs
In this exhibition I present a selection of recent works, with a focus on compositions that deal with the surface and the limitations of the frame or canvas. I've explored visual echoes, rhythms and patterns and have used fabric as a visual and material ‘reverb effect’ to the canvas cloth. Art history is a constant Inspiration for me, here influence is derived from studies of fabric in old master paintings where the movement of textiles are employed as a sort of baseline to the narrative and can be studied individually as pure visual amusement . To me, the best paintings have inbuilt tensions that achieve some otherworldly spark as if something momentous is about to happen or there is some pent up energy about to bring forth a critical transformation. I paint fully immersed chasing the thrill of that tipping point, hoping some tension will remain on the finished work and be palpable to the viewer: some un-stillness. One of those interesting tensions is that between the painting as a ‘window’ and a surface- at the tipping point of entering in and out of an illusion.
Solo exhibition, Sjungaregården Granö
During the spring of 2021 my studio was frequented by athletic male models, most of them recruited at Legendary Gym, a body builder hang out in Umeå. The conversations with the guys came to revolve around the body, discipline and identity. I reflected on the first women admitted to the painting academies and how they were denied access to life models, having instead to draw from sculpture and what the effects of that would have been. I explored the male beauty ideal, what a female gaze on the male body means, and representations of the male nude in art history.
For the exhibition at Granö I set up the space to give a feel of a working studio. A small selection from the huge amount of work (I had made 100+ sketches, paintings and maquettes) were placed all around the walls and on make shift tables. In the middle of the room, a leather armchair refashioned as a male torso was placed from which to view the work.
A big thank you goes out to Nya Makeriet in Umeå who helped me with the leather work.
In the ongoing Rückenfigur series I employ a painterly device popular in the Romantic era. This compositional tool has typically been deployed as a site of identification for the viewer, to allow them inside the landscape or scene. In my application the inherent contradiction and impossibility of this is laid bare. Painted on glass, the figure is only ever viewable from the back, and the viewer is blatantly refused access to the inner workings and perceived perspective of the figure.
I benefit hugely from the rich history of art, and I often refer to pictorial archetypes from different eras. The girl figure in the Rückenfigur work ‘Aim’ (2020) also draws from the historical ‘putti’ figures - the angelic and naughty boys that can be seen peeing in fountains, fondling women or generally partying in monuments and paintings all over the world. This piece was included in the survey exhibition of Swedish contemporary painting, Nu!/Now! at Museum Anna Nordlander in 2020.
Loops of visual information, investigations into the movement of the eye, explorations of depth/surface, illusion and tangibility.
In the ongoing ‘Corpus’ series, I work in the still life tradition to represent the female body as a vehicle of nourishment and consumption. The series took off while I was breast feeding my youngest child and is a humorous and playful body of work that now amounts to over 50 paintings and still growing. Corpus is latin for body and a term for the mid panel of an altar piece. These works all share the same basic composition. They are all made swiftly, predominantly in alla prima or 'wet on wet' oil painting technique. Some works are available as prints, please e-mail me for details and availability.