Artistic Statement: Conscious Abstraction!
In an abstract work, the materials step forward and become a significant part of the work itself. A good painting is conscious of its own physical properties and of the space around it, and inquires into its own existence.
Abstract painting has a central role in my artistic practice. I use abstraction in various media – such as fabric collages and flags – as a tool with which to dissolve and open up rigidly-defined categories and forms. My paintings and fabric collages have a special dialogue. Often the fabric collages may be recreated as paintings, or vice versa. In terms of content, I work to create meanings that deal with gender history – as indicated, for example, through the juxtaposition of works and materials.
The abstract paintings arise on the basis of systematic compositions, geometric divisions, forms and colours that mimic or utilise visual techniques and structures drawn from the craft traditions of various cultures. Several of the works contain for example references to Navajo rugs, Swedish rag rugs and patchwork quilts. The various references are combined in the painting, where they are absorbed in each other’s logic. In the abstract expression, the intention is thus not to find the universal form, but rather to seek to achieve a form that is constantly changing. When, in the individual works, I operate with several signals at once, the aim is to open up the work in both sensual and symbolic terms. My ambition is that the works should have a simultaneously tactile and spiritual quality. I work with their physicality. They refer to the body and to the physical conditions with which each individual is endowed.
In relation to media, I work a lot with textiles in various formats. The flag, as object, phenomenon and symbol for identification, is something that interests me. I use the authority and authenticity of the flag to deconstruct and reconstruct ideas and concepts about ourselves and others. In several works dealing with issues of identification, I am interested in the possibilities and limitations, as well as the hierarchies, that we ourselves create and pass on – particularly in relation to the position of women.
Besides the material itself, I often use the title of a work to clarify its statement, such as in the painting Bedcover for Sonia Delaunay, 2006. Delaunay sewed an abstract bedspread for her son with the title Blanket, 1911, which was originally considered to be a craftwork, but is today regarded as a work of art. For me, this bedspread stands as a symbol of the relationship between art and life which is essential in my artistic practice.
The Revolver Winckelmann publication is now available at www.ftn-books.com