The driving force of the Exhibition and Life (reconsidered) may have been about re-imagining an existing body of work, and co-creating in the here-and-now; yet, the creative drift is inseparably followed by a shadow called economy. Landlords and art material dealers rarely give their goods away; artists have basic human needs as well. Most of us therefore work part or full time in parallel professions (salaried). Hence, I feel the importance of recognizing when someone steps up, willing to actually pay for the artist’s work; especially when that someone is an individual with limited resources, who just happens to be touched by what they experience. This post is for you – to acknowledge the importance of your support; for the artist, it means encouragement and economic relief. For the artwork itself, it means fulfillment.
above: Snowdrop (left); Spring snowflake (right);
charcoal, chalk and watercolour on paper,
each 120 x 175 cms
below: car packed, heading for home
Dear customers from near and far – I’m deeply grateful for our exchanges: for hours spent together under the hot studio roof, meticulously packing two large drawings for a long car transport; for the spirited talk and delicious ice chocolate cake shared in a beautiful 19th century Stockholm apartment; for all your sensitivity and recognition; and for the influx to my bank account, as well as to Médecins Sans Frontiers (as part of a deal). I hope your purchases keep giving you joy, each day to come!
diary painting 191211 03,
oil and blackboard paint on wood panel;
40,5 x 20 cms
oil paint on canvas, 200 x 200 cms; five subsequent stages, February – April 2017
161202; charcoal, leaf silver, oil and blackboard paint on wood panel
So, this is it, for now (and the actual measure of the painted surface is 61,8 x 20,3 cms, to be truthful). TBC.
…and now that my contribution to Satan’s Delirium is up and running with the rest, it’s time for me to land in the studio again. Had scheduled this October mainly for printmaking, but sadly, the graphic department at the Royal Institute of Art suffered from a devastating fire some weeks ago. No person hurt, but dire material damages – above all, a number of students lost all of their works – and since then, the building isn’t safe and nobody is allowed into the workshops except for carpenters and construction workers.
Graphic department at the Royal Institute of Art, september 21st, 2016.
Photo: Tidningarnas Telegrambyrå (TT)
So, serious shit did happen at the RIA. But I was lucky not to have too much stored in those workshops. I can just stay home and take up painting where I left it in September… a very suitable option, in fact.
from the studio, March – August 2016 (photo HHW.)
So, writing and commissions aside, there’s always the studio. And during the past week, I’ve returned to this canvas (started out in March). It’s strongly related to the graphic work, but I don’t know yet where it’ll take me; only thing I know is that by now it’s calling for another one. And I need to give it time. Attention.
Twelve paintings, studies for a next step. One morning I wake up, feeling like falling out of the horizon. Is it possible not to seek beauty? I guess not. Could I hope for expanding my understanding of beauty? I guess.
VERTIGO REALITY CONTINUUM
160106, oil paint on canvas, c. 54 x 54 cms
160105, oil paint on canvas, c. 54 x 54 cms
160104, oil paint on canvas, c. 54 x 54 cms