Camilla Eriksson
I paint because some feelings just have to be shared.Strong ones, may they
be good or difficult. My paintings tell me their own stories. About me. About things I’ve felt and
experienced. Blue periods? More a need to dive into blue, red, orange, blue or any other colour for a
while. While painting I take time to observe. And feel. And get obsessed. It’s
all strict, wonderful and crazy self-indulgence. My surroundings know there are feelings I need to
express.
Painting is an amazing journey. People share their thoughts, emotions and inner
life with me throughout the process. And it’s a buzz to see perfect strangers fall in
love with my work, seeing a filthy factory window, the wilderness of Greenland,
figures that may be penguins, cranes or Masai tribes – or something completely
different, and make sure the painting finds its home.
It’s seriously moving, and I love all the interpretations. After all, it’s in the eye of
the beholder.

Åke Arenhill

JOHAN PETTERSON

After five years, Johan Petterson is now back at Galleri Final with a series of New Paintings. On the one hand, they focus on flowers, and on the other, they focus on birds and frogs. This is a new and different world in Johan Petterson’s universe, where human beings, who are often part of his artistic properties, are not welcome. The flowers greet us in their still life composition of artistically moulded garden urns, filled with airy bouquets. At times they conjure up images of flaming roses, but most often they seem to be gathered from an imaginary flora. Linnaeus would have been amazed, but on the other hand – and as Johan Petterson has also asked himself – what do flowers care about their names in Latin? In floral bouquets, everything is a dance between colors and forms (underlined by the balanced encounters between acrylic and oil) as well as variations in textures and shades where names and even species are indifferent.

In these paintings, created as variations on the Flora theme, the brush strokes are rapid, the shapes are implied rather than clearly stated and the colors are carried out by a luminous intensity when they stand out against the backdrops, neutrally maintained in black or gray. In the larger flower paintings, little birds can be found, most often tree sparrows, making their way into the picture, creating a link to the exhibitions’ other dominant motifs: birds from the Nordic fauna. As seen in the Flora paintings, Johan Petterson quite deliberately builds a bridge to 16th century Netherlands, the classical period of big floral compositions. To connect tradition to his art is a typical way for Johan Petterson to work. Not because he believes that “it was better before”, but because tradition is highly useful in looking forward to the future. In true post-modernism spirit, he does not attempt to build walls between “now” and “then”. On the contrary, he wants to preserve, renew and create ways into the future. And that does not only concern his updated floral still lifes, where he seems to capture the fleeting moment in flight. This applies equally to both the landscape and animal paintings, as well as those genres that stem from 16th century Dutch art.

But in Johan Petterson’s studio in Stockholm, landscapes as well as groves of trees and shrubberies sometimes transform into ornamental “no-mans lands” where magpies rest and blackbirds sing on silent summer nights and where small birds play hide-and-seek among the twigs and the majestic necks of white swans materialize out of the black water of a forest lake. When drawn out of their natural environments, we are forced to look at them with new eyes, to experience them as guests in a world that is becoming more and more urban. An owl, who could have been taken from a work of Hieronymus Bosch, sits on a closed gate, a border between two worlds that Johan Petterson leaves to us to define. And the owl, in turn, looks at us with eyes that no longer can be surprised or amazed. In Johan Petterson’s art, the owl acts as a messenger between different realities. A surrealistic trace that is even more accentuated in the painting entitled Mitt i Malmö (In the Middle of Malmö). A title that confuses since there is no connection to Malmö in the painting at all. It depicts a frog – a Scania tree frog, but it can also be a bewitched prince or a princess awaiting that liberating kiss. In Mitt i Malmö , the frog sits on an opalescent circular disk, an oversized dewdrop in the ornamental no-mans land – or is it on a full moon in a distant galaxy? Like the owl, the frog raises many questions, but once again Johan Petterson leaves it to us to find the answers.

Britte Montigny

Tommy TC Carlsson

Born 1958 and lives in Långasjö, Småland, and Stockholm. 1977 basic artistic education, at the art school of Öland. Ever since the early 1970s, he was given the nickname “TC” and uses it to sign his works. Tommy started to paint and quickly gained a special expressive Power. On the initiative of his teachers, he was given a scholarship for his further artistic education. During his education, he developed a passion for representational art. The Dutch paintings of the 17th Century, as well as Lifes, were especially interesting for him. This established form of representational art with its traditional artists became a challenge for Tommy and at the same time was the entrance into his own oeuvre.

Tommy chose his motifs from his personal Environment. Often these were items with notable traces of the course of time, which stands in a special perspective for the Viewer through a clever composition of the painting.

Over many years of his first creative period a certain guideline phrased by Tommy >TC< Carlsson himself, shaped his style of painting: “My still Lifes are composed of old objects, which have been affected by the tooth of time for many years. With atmosphere and mysteriousness, I am trying to sell you a story. A symbolic painting, free to interpret.”

Works with precise, plane backgrounds emerged, mostly with wooden panels. Subsequently Tommy, in a large number of his work, placed the objects in the foreground and chose free background designs – whilst not using a Concrete room situation. The specialty of these works is that the room is only indicated through shadow and light, shine and feebleness on the items themselves or in the direct background of the objects. In this way, Tommy created a relationship of tension within his works which inspired many of the lovers of this art.

Stimulated by educational journeys and the participation at various art fairs Tommy increasingly changed the objects in his works and temporarily accentuated the symbolism as well as individual parts of objects. the continuous advancement of his style of painting ultimately led to a complete focusing on the object.

For a number of years, the main focus of Tommy >TC< Carlsson has been a style of painting orientated towards trompe lóeil. By playing with the deception of cognition, he found new ways of attracting the gaze of his viewers.

Tommy designs this game with a special humor. Behind the directly ascertainable, quasi-tangible, figurative reality of his objects, manifold hints and allusions become visible. They enable a contact between the artist and the viewer, an optic interaction. In this way, the works of Tommy >TC< Carlsson show a colorful reality, which connects the past, the present and a future-oriented fantasy which makes curious.

Ellen Lippe

KARL VALVE 

Karl Valve spent his early years in Tullinge just south of Stockholm where he grew up at the same time as graffiti culture was starting to emerge and develop. Without being a graffiti artist himself, he nevertheless filled his notepads – ‘black books’ – with drafts of bold letter combinations, sometimes spiced up with figurative elements. The turning point came when he moved to Malmö and discovered P-huset Anna, a multi-storey car park with so-called ‘legal walls’. This was a favourite haunt of young graffiti artists, since it gave them the chance to paint and develop their creativity without the risk of being nabbed by the police. Their spray cans were bought in Copenhagen, which also had a broad selection of graffiti magazines.

These early experiments with graffiti were the precursor to Valve developing a deeper interest in art and especially in its technicians, since for him it wasn’t just about applying paint to a canvas (or other medium) in a figurative or non-figurative manner. In replacing spray cans with putty knives and adding layer upon layer of paint – nowadays up to ten of them – he gave his surfaces a poetic depth which invited interpretation and clarification. Important sources of inspiration for the development of his work with putty knives were such artists as Gerhard Richter (Bach Suite, 1992) and Ola Billgren, who in the same decade created his gleaming red “echoes of Pompeii”. The artist who was to have the greatest effect upon him, however, was the American Robert Rauschenberg. In the 1950s, as part of his development of late 1910s Dadaism, he introduced combines and assemblages as artistic media. The most famous example of the latter is undoubtedly his Monogram of 1959, a goat with a car tyre around its belly, but it was primarily Rauschenberg’s combines which from an early stage came to fascinate Valve. For Rauschenberg, these often work in the same way as contemporary documents or diary entries. Photographs, newspaper clippings, letters of the alphabet, and streaks of colour are combined into collages rich with association. In Valve’s current exhibition which he, with a dash of nostalgia, calls Life on the Seashore, this relationship with Rauschenberg is as evident as the differences are striking. Valve too works with combinations of colour, photographs, figurative painting and letters, but whereas Rauschenberg is extrovert in his work, Valve is introspective, otherworldly and lyrical. A streak of contemplative poetry runs through the current exhibition, not least in its bird motifs.

Without having any real idea of how the finished work will look, Valve begins by applying layer upon layer of acrylic paint to the canvas. Shifts between thin glaze and more impasto textures create a relief-like effect in the paint, the nuances of which determine the content of the rest of the painting. In Fågelmålningarna (the Bird Paintings), Valve’s palette seems to have carried his thoughts to the beach where the sea ebbs away, where the shifting light of the heavens is reflected from dawn to dusk in sand that remains ever moist and where the sun appears as a shining globe. His paintings are thus transformed from abstract lyricism into summer beaches, into a setting for birdlife but also for bathing, boats and beach cabins: a setting with horizons both deep and implicit.

The whole exhibition is characterised by a quiet beauty closely allied to nature. Should we then refer to Valve as a nature poet? ‘No,’ he says, he is a child of the city, while acknowledging a strong attraction to Taoism, the Chinese philosophy which in nature and through inward contemplation and meditation seeks to find ‘the Way’ to inner harmony and an understanding of life. One of Valve’s favourite books is Benjamin Hoff’s Tao of Pooh, an unsurpassed source of wisdom in which Valve finds a soulmate in the form of Pooh Bear’s friend Piglet. Taking Piglet by the hand is in fact an excellent way to find the right path into Karl Valve’s multi-layered and deeply poetic world.

Britte Montigny