View In Room
View In Room
Filler on board, oak frame
Dimensions: 100cm (H) x 122cm (W) x 5cm (D) / 39.4" (H) x 48" (W) x 2" (D)
Note: Actual colours may vary due to photography & computer settings.
122 (W) x 100 (H) cm | Filler, oak frame
This work belongs to the painting series "Inter" which depicts islands, shores, horizon lines and such. Meetings between different modes of materiality. It also has a sister painting called Archipelago 2.
The motives of islands and archipelagos relate to the detachment of the subject from the surrounding reality. As islands in a sea. The subject is according to Georg Wilhelm Friedrich Hegel, by definition detached - "a reflection in otherness within at itself". It is precisely by observing from the outside, by separating itself from the environment, that its status as subject arises.
On the other hand, the island-motive also evokes the famous quote of John Locke -"No man is an island". In fact, every human being is connected underneath the surface, and we can´t exist without each other. Humanism and empathy are, in the wake of the present global refugee crises is, of utmost importance.
"Sign" is a compilation of works that are more or less vaguely is resembling phenomena in reality. They are not representing specific things or places but utilises how perception is always searching for specific shapes, which is related to different categories in the language of the mind.
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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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