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Kazimir Malevich was born near Kiev in the Russian Empire. His parents were ethnic Poles. It remains a mystery of 20th century art, how, while leading a comfortable career, during which he just followed all the latest trends in art, in 1915 Malevich suddenly came up with the idea of Suprematism. The fact that Malevich throughout all his life was signing and re-signing his works using earlier dates makes this u-turn in his artistic career even more ambiguous.
In 1915 he published his manifesto From Cubism to Suprematism. In 1915-1916 he worked with other Suprematist artists in a peasant/artisan co-operative in Skoptsi and Verbovka village. In 1916-1917 he participated in exhibitions of the Jack of Diamonds group in Moscow together with Nathan Altman, David Burliuk and A. Ekster. Famous examples of his Suprematist works include Black Square (1915) and White on White (1918).
Black Square, the fourth version of his magnum opus painted in the 1920s, sold at a state auction in Russia for the equivalent of one million dollars. The work was purchased by the Russian philanthropist, Vladimir Olegovich Potanin, who donated it to the State Hermitage Museum. On November 3, 2008 a work by Malevich entitled Suprematist Composition from 1916 set the world record for any Russian work of art and any work sold at auction for that year, selling at Sotheby’s in New York City for just over $60 million U.S. (far surpassing his previous record of $17 million set in 2000).
Critics derided Malevich for reaching art by negating everything good and pure: love of life and love of nature. The Westernizer artist and art historian Alexandre Benois was one such critic. Malevich responded that art can advance and develop for art's sake alone, regardless of its pleasure: art does not need us, and it never needed us since stars first shone in the sky. Malevich's work only recently reappeared in art exhibitions in Russia after a long absence. Since then art followers have labored to reintroduce the artist to Russian lovers of painting. A book of his theoretical works with an anthology of reminiscences and writings has been published. Many stains on his reputation in Russia remain, however.
As the third son of the Chu family, Teh-Chun was born on 24 October 1920 in Baitou Zhen, in the province of Jiangsu. This agricultural region of China made up of plains, watercourses and canals and which is also called the ‘water country’ will mark him deeply and give the artist Chu Teh-Chun a luminous palette. He comes from a prosperous family of medical doctors, who are collectors of traditional Chinese painting.
In 1935, he enters the National School of Fine Arts in Hangzhou where he meets his contemporary Zao Wou-Ki. At the time not just traditional painting was taught; painters who had lived in France had brought back art reviews and reproductions of Renoir, Matisse, Picasso and Cézanne which fascinate Chu Teh-Chun. With impressionism, he discovers another technique and another vision of art.
The declaration of the Sino-Japanese war on 7 July 1937 leads to a relocation of the school inside the country. During this exodus which lasts two years, Chu Teh-Chun discovers the depth of the Chinese countryside and remembers extraordinary landscapes.
At the end of his studies in 1941, he is immediately appointed as an assistant professor. He teaches in the architecture department of the central University of Nankin from 1944 to 1949. He then becomes a professor in Taipei and then in Taiwan, while continuing his exhibitions.
His status ensures he has a comfortable existence, but he nonetheless dreams of leaving to divest himself of academic conventions. So he therefore leaves China in 1955, at the age of 35 with his wife Ching-Chao. During the long journey which brings him to Europe, he makes a stopover in Cairo where he discovers Pharaonic art, which is his first real contact with western art. He arrives in France, a mythical country discovered during his studies through its painters and he sets up home in Paris.
Modern art then enters Chu Teh-Chun’s life. He leaves a frozen world for a world in movement. 1955 is the year of Nicolas de Staël’s death, Mark Tobey proposes his exhibition ‘the Movement’ at Jeanne Bucher’s premises, the Denise-René gallery presents the kinetic art of Agam, Pol Bury, Calder, Duchamp and Vasarely. Chu Teh-Chun discovers that the painters’ media and materials are different from those which he knows. One year after his death, the City of Paris National Museum of Modern Art holds a Nicolas de Staël retrospective. This event has a lasting impact on Chu Teh-Chun who is moved by the embedded, architectural shapes in ranges of restrained colours. He draws inspiration from them in his own paintings and replaces the traditional urban views which he painted at his arrival in Paris by a free proliferation of lively colours with material effects. Nature, its landscapes and its climatic phenomena are always his main sources of inspiration. Chu Teh-Chun’s painting ‘is a place of colours and shapes, born
He begins to exhibit his work in galleries from the years 1958-60. Thus he holds his first exhibition in the Legendre gallery and is noticed by critics. Maurice Panier, the artistic director of the Legendre gallery, offers him an exclusive contract for six years, which enables Chu Teh-Chun to invest in a workshop. He meets other artists from the gallery, some of whom such as Kijno or the sculptor Féraud will become his friends. And he becomes part of Parisian artistic life.
Abstraction then becomes a necessity for the Chinese artist. For him, it is a language which becomes incessantly renewed and which allows him to communicate more easily, with greater spontaneity and freedom of movement. His paintings are rich and it is difficult to retrace the path of the artist’s hand, to find a start and an end to it.
In 1983, he is invited by the department of Fine Arts of the University of Hong Kong to be on the final year examining board. The Chinese Union of Artists offers him an opportunity to rediscover his own country which he had not visited for 28 years. He then happily re-explores the China of his childhood. Invited for a second time in 1986, he shows a retrospective of his work at the Taipei national History Museum in 1987. He has been out of his country for thirty-two years and this is the first time that he is showing all of his work.
During the 1990s, he sets up home in Vitry-sur-Seine in Val de Marne and has a vast well lighted workshop. He now favours large formats, diptychs and triptychs, which he exhibits throughout Europe, the United States and the Far East. Major monographs are published and he is awarded several public commissions.
The years after 2000 are the symbol of recognition of Chu Teh-Chun’s work. In 2001, he becomes a Chevalier of the Order of Academic Palms and is then appointed as a Chevalier of the Legion of Honour by the President of the French Republic. He accompanies Jacques Chirac to Beijing in the context of the year of France in China. The latter describes him, like Zao Wou-Ki, as ‘symbols (…) of the meeting between cultured Chinese tradition and contemporary French painting’ and awards him the title of Officer of the National Order of Merit in 2006. In the same year, Chu Teh-Chun receives the European Gold Medal of Merit in Luxembourg.
The final proof of the establishment of his work is his first personal exhibition at the Marlborough Gallery in New York in May-June 2006.
2008
The National Museum Of History, Taipei (China), Exhibition 88 Retrospective (19/09 - 23/11)
2009
Malborough Fine Art Gallery, London, from March, 4th to 28th
Musée Guimet, Paris, De neige, d’or et d’azur (Of snow, gold and azure), 56 ceramics vases, from June, 10th to September, 7th.
Niflheim (or Niflheimr) ("Mist Home", the "Abode of Mist" or "Mist World"[citation needed], or probably world of the darkness according to the Oxford English Dictionary[1]) is one of the Nine Worlds and is a location in Norse mythology which sometimes overlaps with the notions of Niflhel and Hel. The name Niflheimr only appears in two extant sources: Gylfaginning and the much-debated Hrafnagaldr Óðins.
Niflheim was primarily a realm of primordial ice and cold, with the frozen rivers of Élivágar and the well of Hvergelmir, from which come all the rivers.[2] According to Gylfaginning, Niflheim was one of the two primordial realms, the other one being Muspelheim, the realm of fire. Between these two realms of cold and heat, creation began when its waters mixed with the heat of Muspelheim to form a "creating steam". Later, it became the abode of Hel, a goddess daughter of Loki, and the afterlife for her subjects, those who did not die a heroic or notable death.
I can't remember who the artist of this piece was, but I can tell you that I waited absolutely AGES for this shot.
Gouache on board; 24.1 x 24.8 cm.
Ben Nicholson was an English artist whose austere geometric paintings and reliefs were among the most influential abstract works in British art. The son of the painter Sir William Nicholson, he briefly attended the Slade School of Fine Art in London in 1910–11, but he was largely self-taught. He traveled extensively in Europe between 1911 and 1914, and in 1917 he visited California, keeping a detailed record in sketches of architecture and landscape. About 1920 he began to paint seriously, creating still lifes and landscapes in a conventionally realistic style. During a trip to Paris in 1921, Nicholson saw Cubist works, which influenced his first semi-abstract still lifes; in 1924 he executed his first completely abstract painting.
During the 1920s, along with the sculptors Barbara Hepworth (who became his second wife) and Henry Moore, Nicholson was instrumental in introducing Continental Modernism into English art. In 1933 he and Hepworth joined the Paris-based Abstraction-Création group, an artists’ association that advocated purely abstract art. He also met the Dutch painter Piet Mondrian, under whose influence Nicholson’s work took on a greatly simplified geometry; typical of this period are his low reliefs of whitewashed circles and rectangles, such as White Relief (1937–38). He was co-editor with the artist Naum Gabo and the architect Sir Leslie Martin of Circle, a manifesto published in 1937 to promote Constructivism and other modern art styles in England.
In the 1940s Nicholson returned to landscape and still-life themes, often painting simplified representations of still-life motifs within otherwise largely abstract compositions. In his later work he continued to shift between modes of abstraction and representation.
Theo van Doesburg was a Dutch painter, writer, poetand architect. He is best known as the founder of De Stijl. After a short training in acting and singing he decided to become a painter. His first exhibition was in 1908. Although he considered himself to be a modern painter at that time, his early work is in line with the Amsterdam Impressionists and is influenced by Vincent van Gogh. This suddenly changed in 1913 after reading Wassily Kandinsky's Rückblicke. It made him realize there was a more spiritual level in painting that originates from the mind rather than from everyday life, and that abstraction is the only logical outcome of this. In 1915 he came in contact with the works of Piet Mondrian, who was eight years older, and had by then already gained some attention. Van Doesburg saw in these paintings his ideal in painting: a complete abstraction of reality. Van Doesburg got in contact with Mondrian, and together with several other artists founded the magazine De Stijl in 1917.
Van Doesburg was the 'ambassador' of the movement, promoting it across Europe. He moved to Weimar in 1922, deciding to make an impression on the Bauhaus principal, Walter Gropius. While Gropius accepted many of the precepts of contemporary art movements he did not feel that Doesburg should become a Bauhaus master. Doesburg then installed himself near to the Bauhaus buildings and started to attract school students interested in the new ideas of Constructivism. Dadaism, and De Stijl. In 1923 Van Doesburg moved to Paris. During 1924 Doesburg and Mondrian had disagreements, which eventually led to a (temporary) split. The exact reason for this split has been a point of contention; usually the divergent ideas about the directions of the lines have been named as the primary reason: Mondrian never accepted diagonals, whereas Doesburg featured them in his art. After the split, Van Doesburg launched a new concept for his art, Elementarism, which was characterized by the diagonal lines and rivaled with Mondrian's Neo-Plasticism.
Gracias por las visitas, amables comentarios e invitaciones
Thank you for the visits, kind comments and invitations
Oil on canvas; 72.875 × 78.875 in.
Manabu Mabe (マナブ間部?) (September 14, 1924 – September 22, 1997) was a Japanese-Brazilian painter. Mabe worked as a vendor of hand-painted ties in São Paulo before becoming a famous artist. In the late 1950s Mabe won the top award in São Paulo's Contemporary Art Salon, the top award as Brazil's best painter in the São Paulo Bienal, and the top honors for artists under 35 at Paris's first biennial.[1]
On 30 January 1979, after an exhibition in Tokyo, 153 of his paintings were on board of a Varig cargo Boeing 707-323C registration PP-VLU en route from Tokyo - Narita to Rio de Janeiro-Galeão via Los Angeles. The aircraft went missing over the Pacific Ocean some 30 minutes (200 km ENE) from Tokyo. Causes are unknown since the wreck was never found. The paintings were lost.
Untitled (Black and Gray) circa 1950
Gouache on paper
h: 8.8 x w: 14 in
Courtesy of Spanierman Modern, New York
Barnett Newman, Vir Heroicus Sublimis, 1950–51, oil on canvas, 242.2 x 541.7 cm (The Museum of Modern Art)
Oil on canvas; 195 x 130 cm.
As the third son of the Chu family, Teh-Chun was born on 24 October 1920 in Baitou Zhen, in the province of Jiangsu. This agricultural region of China made up of plains, watercourses and canals and which is also called the ‘water country’ will mark him deeply and give the artist Chu Teh-Chun a luminous palette. He comes from a prosperous family of medical doctors, who are collectors of traditional Chinese painting.
In 1935, he enters the National School of Fine Arts in Hangzhou where he meets his contemporary Zao Wou-Ki. At the time not just traditional painting was taught; painters who had lived in France had brought back art reviews and reproductions of Renoir, Matisse, Picasso and Cézanne which fascinate Chu Teh-Chun. With impressionism, he discovers another technique and another vision of art.
The declaration of the Sino-Japanese war on 7 July 1937 leads to a relocation of the school inside the country. During this exodus which lasts two years, Chu Teh-Chun discovers the depth of the Chinese countryside and remembers extraordinary landscapes.
At the end of his studies in 1941, he is immediately appointed as an assistant professor. He teaches in the architecture department of the central University of Nankin from 1944 to 1949. He then becomes a professor in Taipei and then in Taiwan, while continuing his exhibitions.
His status ensures he has a comfortable existence, but he nonetheless dreams of leaving to divest himself of academic conventions. So he therefore leaves China in 1955, at the age of 35 with his wife Ching-Chao. During the long journey which brings him to Europe, he makes a stopover in Cairo where he discovers Pharaonic art, which is his first real contact with western art. He arrives in France, a mythical country discovered during his studies through its painters and he sets up home in Paris.
Modern art then enters Chu Teh-Chun’s life. He leaves a frozen world for a world in movement. 1955 is the year of Nicolas de Staël’s death, Mark Tobey proposes his exhibition ‘the Movement’ at Jeanne Bucher’s premises, the Denise-René gallery presents the kinetic art of Agam, Pol Bury, Calder, Duchamp and Vasarely. Chu Teh-Chun discovers that the painters’ media and materials are different from those which he knows. One year after his death, the City of Paris National Museum of Modern Art holds a Nicolas de Staël retrospective. This event has a lasting impact on Chu Teh-Chun who is moved by the embedded, architectural shapes in ranges of restrained colours. He draws inspiration from them in his own paintings and replaces the traditional urban views which he painted at his arrival in Paris by a free proliferation of lively colours with material effects. Nature, its landscapes and its climatic phenomena are always his main sources of inspiration. Chu Teh-Chun’s painting ‘is a place of colours and shapes, born
He begins to exhibit his work in galleries from the years 1958-60. Thus he holds his first exhibition in the Legendre gallery and is noticed by critics. Maurice Panier, the artistic director of the Legendre gallery, offers him an exclusive contract for six years, which enables Chu Teh-Chun to invest in a workshop. He meets other artists from the gallery, some of whom such as Kijno or the sculptor Féraud will become his friends. And he becomes part of Parisian artistic life.
Abstraction then becomes a necessity for the Chinese artist. For him, it is a language which becomes incessantly renewed and which allows him to communicate more easily, with greater spontaneity and freedom of movement. His paintings are rich and it is difficult to retrace the path of the artist’s hand, to find a start and an end to it.
In 1983, he is invited by the department of Fine Arts of the University of Hong Kong to be on the final year examining board. The Chinese Union of Artists offers him an opportunity to rediscover his own country which he had not visited for 28 years. He then happily re-explores the China of his childhood. Invited for a second time in 1986, he shows a retrospective of his work at the Taipei national History Museum in 1987. He has been out of his country for thirty-two years and this is the first time that he is showing all of his work.
During the 1990s, he sets up home in Vitry-sur-Seine in Val de Marne and has a vast well lighted workshop. He now favours large formats, diptychs and triptychs, which he exhibits throughout Europe, the United States and the Far East. Major monographs are published and he is awarded several public commissions.
The years after 2000 are the symbol of recognition of Chu Teh-Chun’s work. In 2001, he becomes a Chevalier of the Order of Academic Palms and is then appointed as a Chevalier of the Legion of Honour by the President of the French Republic. He accompanies Jacques Chirac to Beijing in the context of the year of France in China. The latter describes him, like Zao Wou-Ki, as ‘symbols (…) of the meeting between cultured Chinese tradition and contemporary French painting’ and awards him the title of Officer of the National Order of Merit in 2006. In the same year, Chu Teh-Chun receives the European Gold Medal of Merit in Luxembourg.
The final proof of the establishment of his work is his first personal exhibition at the Marlborough Gallery in New York in May-June 2006.
2008
The National Museum Of History, Taipei (China), Exhibition 88 Retrospective (19/09 - 23/11)
2009
Malborough Fine Art Gallery, London, from March, 4th to 28th
Musée Guimet, Paris, De neige, d’or et d’azur (Of snow, gold and azure), 56 ceramics vases, from June, 10th to September, 7th.
Oil on canvas; 251.4 x 196.8 cm.
Franz Jozef Kline (May 23, 1910 – May 13, 1962) was an American painter mainly associated with the abstract expressionist movement centered on New York in the 1940s and 1950s. He was born in Wilkes-Barre, Pennsylvania, and attended Girard College, an academy in Philadelphia for fatherless boys. He attended Boston University, and later taught at a number of institutions including Black Mountain College in North Carolina and the Pratt Institute in Brooklyn.[1] He spent summers from 1956 to 1962 painting in Provincetown, Massachusetts, and died in New York City of a rheumatic heart disease.
As with Jackson Pollock and other Abstract Expressionists, Kline was labeled an "action painter" because of his seemingly spontaneous and intense style, focusing less, or not at all, on figures or imagery, but on the actual brush strokes and use of canvas. Throughout the 1930s Kline created pieces with slightly abstracted forms which used quick, rudimentary strokes to depict movement. From this point onward, he developed a more abstract, non-representative style for which he is known today. Although most of Kline's [mature and representative] work may seem impulsive and unplanned, as the phrase goes, "spontaneity is practiced". He would prepare many draft sketches—notably, commonly on refuse telephone book pages—before going to make his "spontaneous" work.[2]
In the late 1930s and early 1940s Kline worked figuratively, painting landscapes and cityscapes in addition to commissioned portraits and murals. Kline's best known abstract expressionist paintings, however, are in black and white.
Kline re-introduced color into his paintings around 1955, though he used color more consistently after 1959. Kline's paintings are deceptively subtle. While generally his paintings have a dynamic, spontaneous, and dramatic impact, Kline often closely referred to his compositional drawings. Kline carefully rendered many of his most complex pictures from studies. There seem to be references to Japanese calligraphy in Kline's black and white paintings, although he always denied that connection.[3] Bridges, tunnels, buildings, engines, railroads, and other architectural and industrial icons are often suggested as imagery informing Kline's work.
Kline's most recognizable method/style derives from a suggestion made to him by his friend Willem de Kooning. In 1948, de Kooning suggested to an artistically frustrated Kline to bring in a sketch and project it with a Bell Opticon opaque projector he had at his studio. Kline described the projection as such:
"A four by five inch black drawing of a rocking chair...loomed in gigantic black strokes which eradicated any image, the strokes expanding as entities in themselves, unrelated to any entity but that of their own existence."
Drawing was an essential element in Kline's process, and he would return over and again to forms first sketched on the pages of telephone books, structures that provided the basis of his essays in black and white.[4] He created paintings in the style of what he saw that day throughout his life. In 1950 he exhibited many works in this style at the Charles Egan Gallery. In the later 1950s such paintings as Requiem (1958) added a third type of work to his repertory, by allowing the previously clearcut monochrome divisions to merge into a more complex chiaroscuro. From 1958 he introduced strong colors into some of his works;[5] from 1959 to 1961, Kline executed a sequence of exceptionally large works, known as the "wall paintings".[6]
Untitled (50-45), (ca. mid 1950s)
Gouache on paper
22-1/2 x 28-1/2 inches
Courtesy of Spanierman Modern, New York
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The artworks of Martin GRUNEBERG are exclusively available at
ARTE DEL MONDO www.arte-del-mondo.de
We are happy to answer your questions about the artwork.
Please write to us at shop@arte-del-mondo.de.
You can also visit us on
INSTAGRAM @arte-del-mondo.de
Please also have a look at the artworks by
Otto FRÜHWACH
Toshima HAYASHI
Ziggy M. BROOKS
Pavel POLIAKOV
Eric Sven LARSGAARD
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Jackson CUSHMAN
Gus ANDERSON
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Oil on Canvas (2014)
50 x 100 cm
by Greg Mason Burns
Prints - fineartamerica.com/featured/city-v-love-towers-greg-mason...
Empire of Joy (1997)
Oil on canvas
36 by 44 in.
Courtesy Woodward Gallery, NYC
Copyright Artist Natalie Edgar
Willem de Kooning (April 24, 1904 – March 19, 1997) was an abstract expressionist artist, born in Rotterdam, the Netherlands.
In the post-World War II era, de Kooning painted in a style that came to be referred to variously as Abstract expressionism, Action painting, and the New York School. Other painters that developed this school of painting include Jackson Pollock, Franz Kline, Arshile Gorky, Mark Rothko, Hans Hofmann, Robert Motherwell, Philip Guston and Clyfford Still among others.
Oil and acrylic on canvas; 165 x 145 cm.
Olav Christopher Jenssen (born in Sortland, Norway, in 1954) studied from 1976 to 1979 at the Statens Håndverks- og Kunstindustrieskole in Oslo, and from 1980 to 1981 at the Statens Kunstakademie in Oslo. He continued his studies abroad, first in New York and then in Berlin until 1983. Now living and working both in Berlin and in Lya, Sweden, Jenssen was in 1996 appointed Professor of painting at the Hochschule für Bildende Kunst in Hamburg as a successor to Sigmar Polke. He first participated in exhibitions in 1977. In 1992 Jenssen participated in the Documenta IX in Kassel, where the Lack of Memory series was exhibited together with works by Bruce Marden and Jonathan Lasker. An exhibition of Jenssen's works was held at Studio N at the Museum of Contemporary Art in Helsinki in 1993. He has also had solo shows in Finland, for instance in Galerie Artek in 1988, 1991, and 1995, and at the Nordic Art Centre in 1993.
Olav Christopher Jenssen's paintings may evoke a trace of a romantic-mystical landscape painting, combining the artist's experience of nature and his inner landscape, the landscape of the soul. This interpretation has its origin in the strong Scandinavian tradition represented by the landscape painters of the 1800s and artists such as Carl Fredrik Hill and Edvard Munch. The romantic depiction of nature with religious undertones is often supported by the artist's own strong, expressive interpretation of the subject. Nevertheless, taking into account the sign language associated with the paintings, Jenssen's misty and hazy landscapes can be regarded from a novel point of view.
In Jenssen's paintings the border between the figurative and non-figurative is blurred. In his early works he used recognisable forms as part of a composition. Later in the 1980s the shapes used by the artist suggested the smallest particles of living nature, such as plant tissue and protozoa. In his works Jenssen uses signs and texts improvised by the free movement of a hand. Their origin refers to subconscious automatic writing, which was used as a method of surrealist art. Indeed, Jenssen admits to being influenced by Paul Klee. He maintains his spontaneous working method by drawing constantly, even when he is travelling. By marking down in the drawing the time and place of its creation he connects the work with the present. For Jenssen, drawing is a way of clearing and analysing the relationship between forms and objects, which he claims not to be able do to by thinking alone. He finds all his paintings and drawings to be of equal importance and worth preserving. A past subject or form may resurface, as a stimulus for a new theme.
The 1980s saw an increased interest in painting. Paintings emphasised figurativeness, expressiveness, and an airy picturesqueness. The post-modern trend also toyed with elements and subject matter connected with earlier trends. During his stay in New York in 1981 Olav Christopher Jenssen became acquainted with the abstract impressionism of the 1950s, representative of an informal and non-figurative style. This contributed to Jenssen's understanding of an abstract form language. These ideas he combined with the tradition of romantic landscape painting. Jenssen was also interested in decorative, ornamentally-shaped details, accentuating the surface of the painting, and the strong vertical or horizontal divisions, which find a softer interpretation in his works.
His move to Berlin in 1982 took Jenssen into the very heart of a vigorous and emotionally appealing painting centre. The politically sensitive phase in the still divided Germany was reflected in the artists' expressive and fierce way of painting; their works dealt with grand, mythological stories or depicted the frenzied, urban lifestyle. Jenssen, however, finds his own range of subjects in quiet and inconspicuous everyday life, which in his productions is transformed into an uplifting and insightful experience.
After an intensive 2-year painting session Jenssen completed in 1992 a group of forty large paintings entitled Lack of Memory. The paintings Aphasia, 1990-91, Lapidary, 1991-92, and Serpentine, 1992. The name of a work is an important part of the painting process. The name provides the work with a finishing touch, its ultimate meaning. For Jenssen the concept of Lack of Memory means the absence of memory as distinct from a 'lock of memory', the loss of memory. This general concept refers to a moment of standstill, an emotion here and now which is isolated from the ballast of memory, the past, or the future.
The Lack of Memory series proved an important turning point in Jenssen's career. The long painting process allowed him to experiment with various working methods. He used different techniques in different paintings, such as spreading the paint on the canvas with a brush, by hand, or with a palette knife. Colour schemes were chosen both from the sensitive dark shades and from an expressive palette, non-primary colours such as green, purple, and orange. Instead of the basic forms of a triangle, square, or a circle, Jenssen used free forms which could be associated with nature. The painting does not let on whether the subject depicted is microscopically small or whether the spirals refer to something larger such as the stellar system, for example.
Eija Aarnio