À la folie
Art historical references are a constant in my practice. My interest in visual culture is wide, encompassing both what is happening in my own time as well as in the past. Sometimes a particular movement or artist will 'grab' me, as in the case of outsider artist Aloïse Corbaz (Switzerland 1886-1964).
The largest collection of Corbaz's work is held by the Collection l'Art Brut in Lausanne. I had the privilege of visiting the archive to see the work in person and interview experts in 2022. I have since been writing and making work in response to her practice, fate and of course her striking art work.
The project is resulting in both material and written content most of which is yet to be exhibited/ published.
The project has so far received support from Region Västernorrland and KC Nord.
Rückenfigur
I benefit hugely from the rich history of art, and I often refer to pictorial archetypes from different eras. In the Rückenfigur series (ongoing since 2020) I employ a painterly device popular in the Romantic era. This 'backfigure' 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 turns its' back on the viewer from both sides, blatantly refusing access to the inner workings and perceived perspective of the figure.
The girl figure in the Rückenfigur work 'Aim' (2020) inserted below, 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 countless monuments, ornaments and paintings all over the world. The piece, an oil painting on a 170 cm high piece of glass, was included in the survey exhibition of Swedish contemporary painting, Nu!/Now! at Museum Anna Nordlander in 2020.
