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In short - - Why and how I try to work as an artist and about the act of drawing an outlook of life

I usually prefer to draw with pencil, since the graphite daub with ascetism. I make drawings that are almost totally covered with pencil. I prefer large scale drawings, because I desire the viewer and myself to be put bodily in front of a volume of pencil, and be taken away from reality for an instant. The large scale drawing becomes my cabin or bed of nails.

 

I sketch motives and text fragmenats with 0,5 - 0,9mm pencil lines. Then I draw around the motives and the lines of text. This takes some time and is rather wearying. Meanwhile of me making the filling in, I add textfragments within the grey pencil context. This is a very exhiting phase of the work. I invent new meanings and puttings together of non linearity in the dramaturgy of the drawings and body masses of text. If i have a figure in the drawing, i often use myself as a motive, because I am my most objective measurement to start out from.

 

The recorded text fragments inside the drawing remind of diary writings and eaves dropping. I am interested in personal language examinations. I like to grasp confused texts make sense in my drawings as a non linear playwright. The non linearity gives me the possibility to write down truths or to tell lies. Important for me is to discover new compositions of texts I did not intend to write. I am interested in moments in my drawing when I see a word wrongly, the moment before I then read the word correctly. I memorize these wrongly discovered words within the drawing. This is related to what is normally called slipping of the tongue.

 

In some works I have chosen to use text in a pretended method, as the child pretend writing before it knows how to write letters correctly. Perhaps my reason for this is due to my bilingualism. I also need to withdraw from an imaginary viewer or a relative. These humans expect to be close to my inner voice through the text, since text is supposed to be very understandable by everybody.

 

It is tricky for the viewer to discover the subtle greyish motives and texts at a first glance, because of the eternal grey colours arisen around.

 

In my work in progress A4 or "Pratbubbla" (Chatter Balloon) I write approximately 8-14 layers of text on each sheet of paper with an old typewriter. I used old type writers, because the results look like drawings, especially since I really dont know how to write in that special type writing sense. It is important that the overgrown texts still look like text. The work is not about type writing, but an outlook - - and outlook on life - -  from the weekly conversation with an extremly important person for several years. I also wonder about the "poetry" that could not be continued. How does that poetry feel? I dont know. But the result so far is vibrating blackish-blueish surfaces.

 

                                                                                                      

" drawings as non linear playwrights be close to my thoughts, as text is supposed to be understandable with thin pencil lines in the grey pencil "

WORKS

 Ordförråd I/Vocabulary I  

 Ordförråd II/Vocabulary II

 Ordförråd III/Vocabulary III

 Subtraheraren/   (approx.) The Subtracter

 A4

 Utan titel/Untitled

 Utan titel/Untitled

 pssst...      / (approx.) here!        / Gigantisk ordteckning / the Giant Text-Drawing /

 From my exam exhibition at Rotor1, 2003, Valand School of Fine Arts, University of Gothenburg