Previous Exhibitions/ Series
Same River Twice
Solo Exhibition, Galleri OSs
Selection of works (2020-2021), 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, and here influence was derived from studies of fabric in painting and sculpture, where the movement of textiles is employed as a sort of baseline to the narrative - stories to be studied separately as pure visual amusement. To me, the best work tends to have inbuilt tensions that achieve some otherworldly spark - as if something is about to happen, move or as if there is some pent up energy about to bring forth a transformation. I chase 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 my town. 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.
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.
Credit to Nya Makeriet for the leather work.
Rückenfigur Series (2020-)
In the ongoing Rückenfigur series I employ a painterly device popular in the Romantic era that has typically been deployed as a site of identification for the viewe- 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, ornaments 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.
Selected experiments (2019-)
Loops of visual information, investigations into the movement of the eye, explorations of depth/surface, illusion and tangibility.
Corpus series (2018- )
A studio habit - the ongoing ‘Corpus’ series. The series took off while I was breast feeding my youngest child and now amounts to over 50 paintings. Corpus is latin for body and a term for the mid panel of an altar piece. The works all share the same basic composition. They are all made swiftly, predominantly in alla prima or 'wet on wet' oil painting technique at the end of the day whenever I have the time to spare. Some works are available as prints, please e-mail me for details and availability.