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Anna-Eva Bergman (1909-1987) - Demi barque nr. 5 (1976). In the Tangen collection, Kunstsilo, Kristiansand (Norway). Shown at the temporary exhibition "At arms length: One hundred years of Nordic art" at the Artipelag Arts Center, Gustavsberg, summer 2023.
Olle Bærtling (1911-1981) - "Force Noir, Blanc, Rouge" (1953). In the Tangen collection, Kunstsilo, Kristiansand (Norway). Shown at the temporary exhibition "At arms length: One hundred years of Nordic art" at the Artipelag Arts Center, Gustavsberg, summer 2023.
Bærtling was the major Swedish exponent of Concrete Art, a movement based on the principle that a painting must be entirely built up with purely plastic elements, (surfaces and colours), executed in a mechanic and precise way so as to avoid any impressionistic effect or any suggestion of a meaning beyond those surfaces and colours.
The organisers of a major exhibition of Bærtling's work at the Chinati Foundation (Marfa, Texas) in 2009 explained how Bærtling implemented Concretism:
"Bærtling began mapping out the rudiments of the pictorial system that would preoccupy him throughout the rest of his life in the early ’50s, when, traveling from Stockholm to Paris and absorbing the new abstract art slowly gaining a foothold there, he renounced his previous representational work and committed himself to abstraction. In the years 1953–4 he discovered what would become the essential components of his work: rich fields of single, unmodulated color, outlined in black and formed into triangles which neither originate nor end within the space of the painting itself. For almost thirty years, these simple-seeming devices generated a rich field of possibilities for Baertling as he experimented with different configurations of line, shape, and color."
Force Noir, Blanc, Rouge from 1953 was one of the first implementations by Bærtling of the system that he devised.
The geometric forms are suspended and respond to the viewers presence by rotating on its own axis; forever changing the painting.
Also, each layer of fabric is extremely unique in relation to the other fabrics: The first layer is off-white lace, the second is sheer white fabric with vertical stripes, the third is a hand woven quilt, cream colored, with Christian iconography, and the fourth is a torn up eggshell-white curtain.
I abstracted concepts of early Soviet Architecture and Theatre design and applied them constructively to painting. In this way, I am able to explore the dynamism of geometric abstractions in a three-dimensional paradigm while also challenging the medium of painting, while not only making a direct address to art history but also using it as a vantage point to leap-off of.
Seed Beads and sequins embroidered onto community sourced white plastic caps and cotton rag paper, 15" x 12" white shadowbox frame, 2024
Pattern designed in attribution to the geometric abstracts of Tokolo Asao
Exploring the dynamism of geometric abstractions in a three-dimensional paradigm while critically analyzing the painting medium. I am making a direct address to art history, but also using it as a vantage point to jump from.
At this moment, this is the main focus of my work.
Shadows in the woods weave a world of mystery, branches cast long, reaching shapes across the path, while leaves flicker patterns on the ground that shift with every breath of wind. Light and dark dance together, giving the forest a quiet, magical depth.
The soldier carefully stepped over hard core cinchonine addicts while recalling that a sputtering crampfish once short shrifted the young Chairman retrogressing him into a foot soldier and zealous Boxer eagerly forcing Chinese Christians to renounce their religion because a past census indicated that about ten percent of the population in Luangdong Province were persons aged sixty-five or over, and reportedly Christians ...