Swedish art education in the 1970s and ’80s was firmly rooted in modernist tradition, and largely mediated by male teachers through the study of nude model. Voluntarily adapting to that male gaze during my years of schooling, I never doubted the values of colour and form exercises. Graduation marked an end to free access to the traditional ‘painter and model’ situation. These works can be seen as my taking leave.

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a shaft
opening

heavenly/

in the coding and de-coding; combining, re-combining,
constant flow,
the narratives we live;
a sudden diamond
moment

/infernal

beauty,
is it?

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seeing, seen, unseen (1987);
charcoal, graphite, tempera on paper, 200×115 cms;
photo © Martin Nauclér

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nü / one single piece (1987);
cut paper, tempera, silk fabric, wood

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taiji / Ancient Child Lemur (1987);
paper, charcoal, Chinese ink, crayon, watercolour, tempera, giftwrap paper, stick weave shutter

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the part & the whole (1988);
charcoal, oil, gold leaf on canvas;
photo©Martin Nauclér

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nameless (1996);
charcoal, gold leaf, glass on panel, 100×80 cms;
photo©Martin Nauclér

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scrap paint diptych (wip);
oil on canvas

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light touch (1997);
oil on canvas, 150×100 cms

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