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Johan Söderström

#297 Turned Table - Dots And Pixels

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Johan Söderström

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#297 Turned Table - Dots And Pixels by Johan Söderström
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#297 Turned Table - Dots And Pixels

by

Johan Söderström

US$ 1,300

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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64 (W) x 84 (H) cm | Filler, oak frame

This work was produced during the participatory art project "TABLES Dots And Pixels" at the opening of my exhibition Tablet in Sarpsborg Kunstforening. Participants were asked to make imprints with small square or round rods in the wet filler in a frame with mounted legs, like a table. During the exhibition period, the table became sculptural documentation of the event, and afterwards, I disassembled the legs and finished the work in my studio.

The square and round imprints refer to the smallest components of digital and physical image reproduction - the pixel and the raster point. An image can be seen as a semantic statement because to perceive it, we must interpret and understand the various elements of the image, and place them in their appropriate linguistic categories. For the brain, there is thus no fundamental difference between text and image. It is often said that reading creates inner images, but it is also possible to say that looking create an internal text or an inner semantic understanding.

We perceive the letters and phonemes as the smallest elements in writing and spoken language. But the essence of all language as such is the distinction, the ability to distinguish one from the other. It is the smallest information unit - in image reproduction; the pixel and raster point - in computer technology; the byte, expressed in the binary number system as one or zero. It is the fundamental function of language. The interesting thing here is that the division itself - the boundary, is a purely semantic construction. When it is expressed in materiality - which it must to communicate - the border is always blurred. In physical reality, one can never be wholly separated from the other, it is only within the realm of language that this is possible.

The subject exists within such a semantic reality. To be able to perceive oneself as an independent entity, which can make conscious and free choices, the subject views itself with a semantic gaze, i.e. that there is an unambiguous boundary between the self and the world around it. The subject, the self-conscious individual, is seen as the smallest component of society in a liberal, Western understanding. But just as the purity of language always is distorted and polluted by encountering the material world, so the atomized view of society, with the inviolability of the individual as its foundation, is not unequivocally feasible in practice. People intersect with each other, and one's freedom can never be separated entirely from the other's dependence.

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By Style: Minimalism

39 Artists, 42 Products

Last Updated Nov 23, 2020

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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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