Statement
In an era dominated by technical-scientific thought and the growing supremacy of the
machine, I find it important to ‘reconnect’ with human beings as spiritual beings, which is
why a spiritual practice is of great importance in my personal life. I am now experimenting
with, how (and if) I can integrate this into the artistic methods applied in my practice as
well as in my artistic form with the final pieces?
 
I define ‘the spiritual’ by an individual, eclectic approach to a spiritual search which has
certain commonalities with religions, but is not defined by such.

I am interested in painting
having had such a great importance in both a spiritual and religious context throughout
art history. Based upon this interest I have been researching, among other periods, in
Etruscan image-making by travelling to Triclinium in Italy, where I have spent a lot of time
inside the Etruscan Tombs allowing my own body and senses to experience the wall
paintings dated 650 Bc. On returning to my studio I responded to this experience by
creating large-scale paintings, among others A Tribute To Life currently installed at The
Danish Institute in Rome. I found myself preoccupied with the expressive, coloristic and
figurative paintings carried out in an immediate intuitive response. 


My research also brought me to Rome, where I, over a period of three years, spent
months immersed in the large number of religious paintings and frescoes of the Catholic
Church. I continued to develop figurative paintings based upon these experiences.
However, my choice of motif and colour would at times feel somewhat random; they were
not directly connected with the core of my own spiritual interest and experience.
 


In my most recent series of work Angles and Demons  I have been seeking to unfold my
personal experiences from my spiritual practice by using elements from meditation and
visualisation. This process has resulted in an abstract visual language. I have dissolved the
figurative, more or less, and arrived at what I at the moment like to refer to as a “poetic
potential” in the painting. 

I am particularly inspired by the Swedish artist Hilma Af Klint in
both her method and final artworks. Hilma Af Klint  was an artist who considered her early
abstract works as a form of messages that her spiritual guides channelled through her,
and in which she herself acted as a medium for higher forms of consciousness. Even
though Hilma Af Klint’s life and work dates back more than a century, I believe in the
importance of her work in a contemporary context. She has recently gained international
acknowledgement with major art exhibitions such as ‘Abstract Pioneer’ at Louisiana in
Denmark (2014). I see it as a statement; to show that art can be made out of spiritual
matter, and that there is a growing need within contemporary art today to reaffirm this
urge. An urge for the centrality of man with all its criticality and complexity, in the search
for a spiritual dimension.
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