View In Room
View In Room
Filler on board, oak frame
Dimensions: 64cm (H) x 84cm (W) x 5cm (D) / 25.2" (H) x 33.1" (W) x 2" (D)
Note: Actual colours may vary due to photography & computer settings.
64x84 cm | Filler, oak frame
This image is made with my feet in the classic Kazuo Shiraga style. But where the Japanese master of abstract expressionism, one of the founders of the Gutai group, used ropes to elevate himself above the canvas, I have used the modern variant of clogs, made of plastic. This is the shoe of the common people, the shoe of the working class, from history in wood in the factories and on the fields, for example, today's healthcare workers widely use the plastic version. Still, it is also popular as leisurewear for the mainstream, or the so-called masses.
It is necessary for a group or an individual to rise slightly above the immediate material circumstances to become agents of change, to act instead of merely react. Maybe not hang in ropes from lofty ideals but to symbolize and understand ones position in a system of dependence. To perhaps wear the appropriate shoes. To identify not with one's privilege but instead with one's function in the logic of capitalism.
Where Shiraga's images are dramatic, sensual, with their different layers of colour in varying thicknesses, my work is flat and graphic, as it is actually a cross-section through the sculptural surface created by my footsteps in the wet filler. Restrained in tonality and size - I aim for a straightforward and accessible version of abstract expressionism.
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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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