releasing good energies
I started to paint as a child, surrealistic figurative often with an esoteric-dark undertone, and my work with forms has during my six years MFA at the Royal Academy of Fine Arts in Stockholm been a slow reduce and try out - to let landscape and figure dissolve into a dense axiom. Graduated year 2010. It fascinates me how the Calligrapher carve forward faith and intimacy in her language, with the same effort as in meditation.
Summer 2016 I was drawn to paint touchable by hand objects and put figurative in orbit again. In a for me new starting point. I chose three objects to draw and paint: a piano, a cup and a loaf of bread. I reproduced and minimized them into forms that caught my interest. They all have in common that they radiate a bicameral appearance. A social context and meaning that, for me, works as a link between an awake presence in the room and a spiritual tantric consciousness (a restful "place" with fill up good energies).
Today, 2019 I use them freely in my research of finding peaceful forms. I read about how form through history evolve in time of chaos, as a tool to balance. Can for example specific forms repeatedly come through in order to ease, reinvigorate and strengthen? Parallel to that I´m delighted to merge my grandmother´s ( Älva Nilsson ) design of Women´s dresses in the late thirties. I keep a filled up "walk in closet" with stunning dresses in my home, selecting colours and shapes my Grandmother once chose and let them be a paragon while stretching the raw canvases. On that ground I apply egg oil tempera and oil with peaceful lines from the "Piano body". Surreal playful items like sea shells and "fishy under water creatures" sometimes pop up as "brooches" together with the abstemious forms. I mix different techniques free and unrestricted so that history builds up to a moment where work becomes timeless. I hope anyway. The Conflict in this sense to mix various expressions is more of a "Conversion" to me. To be able to make my eye permissible.
"Two Piano bodies become another body" 2016
Egg oil tempera on linen 200 x 200 cm. An exploration of the gap between a two and three dimensional surface. I took a square and a circle and cut out the edges of the square. There I have two pianos standing back to back. Rotate 90° and the two instruments almost appears as a Greek Bust. It also interests me how the figure both look flat and spherical at the same time.
From current series with peaceful forms, studio 2018.
Painting is, for me, a long going study of transcendent reality and being subordinate its medium. I like the thought that I´m bending and stretching what an image is for my eye and hopefully also for the viewer. Minimalistic ancient Tantric painting from Rajasthan, Hilma af Klint (1862-1944), Toyen (1902-1980), Channa Horwitz (1932-2013), my Grandmother Älva Nilsson (1920-2005) and the Light and Space movement in the 60s are a few of my inputs.