Autodidact.
Born 1959 in Karlstad, Sweden, now living in Stockholm.
Studies in film production
(production design, editing etc.) UCLA, AFI, Los Angeles 1985-87.
Studies in Earth Sciences, University of Stockholm universitet 1992-94.
Studies in Art History, University of Stockholm, 2001-02.
BA in Art History 2002.
Abstract, exam paper: Georgia O'Keeffe and the Spiritual in Art -
how Kandinsky and the European Romantic Movement reached the Wild West.
Separate shows
Galleri Darling, Stockholm 1998, 1999
Swedish Educational Broadcasting Company, Art Club 1999
Arla Art Club 1999, Stockholm
Alvik public library, 2000
Rosenon Conference Center, Dalarö 2001
Apelviksgaarden, Varberg, 2001
Group exhibits
Vallingby Art Salon (jury) 2000
Virgo 2000, juried webshow (Minneapolis College of Art & Design).
Honorable Mention for Hot Kitchen.
My view on Art
Images loudly speak their own language, both as the impulse given to a receptive artist and later on, as a statement transmitted to a hopefully perceptive audience. Long after I have painted an image, it may dawn on me that a picture was actually telling me something. It is a great miracle each time, to realize that the silent voice of a greater power is speaking through the painting. This greater power obviously knows my needs and wishes completely.
When it comes to my own psychological phases, insights or development, the images are always there before I know what to call the notion in words, as early symbols, without me even knowing that they carry a symbolic meaning. I often feel quite silly as I paint some of them, since I may not know what it is that I am painting, and my mind tells me they are ridiculous and unnecessary.
At other times I have felt nearly obsessed by a concept, for exampel peace, as in the case of Blue Tropics, an image painted through tears, as I watched the breaking news of the horrors of Kosovo. The day after, the painting had cried too, i.e. pigments and solution had been running down the painting and all by itself it had created an image that reminded me of a both sad and hopeful blue, tropical environment, a dreamy longing for a paradise where war was unknown, in a note of both hope and despair. In that case the function of the painting was more that of a prayer or ritual of exorcizing the aggressions of war, with a deep and intense wish for a world in peace.
My artistic roots, which I didn't know I had just a few years ago, are probably within symbolism, romanticism and early modernism. However, to try to put words or -isms on one's soul or one's paintings many times seems anything but clever, and may actually block the real meaning of an image. Words are words, and images are images, and they meet a viewer at a certain level. To put too many words on something that is created to be communicated through an image, I believe is to censor a language that people all around the world intuitively understand without words. To continue to emphasize the importance of our "wordy world" may result in a lopsided society, enmeshed in too many thought structures and mind games, for people to feel well, in their hearts.
