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Johan Söderström

#237 Turned Table - Paper Cups

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Johan Söderström

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#237 Turned Table - Paper Cups by Johan Söderström
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#237 Turned Table - Paper Cups

by

Johan Söderström

US$ 1,400

Overview

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2020

Filler on board, oak frame

Unique Work

Dimensions: 84cm (H) x 64cm (W) x 5cm (D) / 33.1" (H) x 25.2" (W) x 2" (D)

Note: Actual colours may vary due to photography & computer settings.

Artist Statement

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This work was made during the art event "Winter Solstice 2019: WE DANCE ALONE" at Kroloftet, Frysja in Oslo, organised by Hanan Benammar. The public was invited to do imprints with paper cups on condition that they committed to do a voluntary donation to something or someone. They also had to write down the recipients on the side of the frame. This it what they wrote, in no particular order:

A school in Nepal | Snorre | Ana | Tiggaren jag går förbi hver bidige dag uten å hvite navnet til (the beggar a pass every day without knowing the name of) | Tiggeren jag ser hver dag, let's call him Bobby (the beggar I see every day, let's call him Bobby) | Leger uten grenser (Doctors Without Borders) | Taylor | Buy a gift and drop it anonymously to an angry person | The first person who ask me for money | UNHCR | Dråpen I Havet | Jewish Voice For Peace | Money to the artist | MSF | Mamma (Mommy) | A beggar on the bridge Bakke Bru | Fyr som ville ha øl (A guy who wanted beer) | Till ett skolprojekt i Nepal insamlat av Kosh-An (to a school project in Nepal collected by Kosh-An | MSF | Foreningen Tryggere Ruspolitikk | Dråpen i Havet | Red Cross | Next beggar

The table was available for the whole night. This is the result.

Paper Cups a series of paintings with imprints from regular paper cups. The kind you get from fast food places, and the kind that often is used by people begging in the streets. The series is about the disparity of economic resources.
Begging, an expression of the most precarious vulnerability is man’s most profound condition. We need others to exist. It is a gesture that expresses the truth about our position. Entirely subject to a potentially indifferent world. Begging tells something about money. We have an economic relationship with reality. We are endlessly exposed to the contingency of life, and to those who embrace the raw power of injustice. Begging, and giving without compensation and conditions, is a subversive act. A protest and an act of resistance, showing that another world is possible.

TABLES is a triparted art project. First, it is a participatory art event where I invite the public to do a mark or imprint of their choice in the wet filler inside a frame with legs attached, placed on the floor like a table. The table functions as a kind of recording device documenting any movement transcending its surface. Second, I exhibit the table and its surface-document of the event as it is. Finally, the legs are detached, I finish the work, tilt it, and turn it into a painting with the title Turned Table.

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Artist Profile

Born: 1969

Hometown: Stockholm

Based in: Oslo

I am interested in process-based painting and the profound human solitude. While exploring one thing, I sometimes try to formulate something about the other.

My work is made from construction filler in oak frames. I have developed a unique technique, where I insert 6 mm thick layers of grey and white filler into the frame like intarsia, instead of on top of each other as in conventional painting. The result gives a graphic expression that at the same time has tactile materiality. I use some simple but clearly defined methods to apply the filler in the frame. These limit the expression of cognitively controlled processes, thus opening an opportunity to reveal something unknown.

They often take the form of series or installations that extend into the room.

I base my work on the notion of a primary alienation in the human subject. By using painting, I want to formulate something around this lack, or the desire, integrated into our perception of reality. I want to explore whether the problem can illuminate other forms of social and cultural alienation—for example, privileges, class, racism and xenophobia. In short, different types of distances between people.

I have previously shown works in Scandinavia at Konsthallen Trollhättan, Konsthallen Lokstallet, Konstepidemin, Kristiansands Konsthall, Akershus Kunstsenter, Trondheim Senter for Samtidskunst och Tenthaus Oslo. I am educated in Norway at Kunstakademiet in Trondheim and live and work in Oslo.


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