Louise Bourgeois once said « Color is stronger than language. It’s a subliminal communication. »

I was raised between Stockholm, Sweden and southern France. Since childhood, I have felt divided between the introspective, solitary culture of the vast Swedish landscapes and the more emotive character of the French. My work embodies this personal sense of ambivalence. I have built a visual trope about interiority, introspection and how mental process can bring about greater communal expressiveness.

In my work I try to offer a painterly meditation on the human psyche, drawing upon my experiences with the landscapes of Sweden and France. My work is meant to foster individual introspection through the use of abstract, haptic forms and a limited color palette. I am interested in ideas of interiority and how the individual relates to the collective in an increasingly isolated world. I try to encourage critical self examination of and reflection by providing the viewers with an intangible and emotional experience.

I began painting at an early age, always attuned to the ways that color and light merged with thought itself. My abstract paintings are a personal expression of my fascination for colors and forms, skies and landscapes, the northern light and the southern brightness. The paintings are only made of pigments that I smash and smear on the canvas. My process is physical and tactile, engaging all of my body and senses. I paint laying on the floor, I need to feel near and part of the painting, working from the four sides, walking around the canvas and literally being in the painting.
I put coat after coat of pigments, trying to bring up the best of every tint, its deepness, vibrations, force and sensibility. The gesture is intense and specific, the pace high, the composition completed in my mind, the work is made in one sitting and the degrees of separation between feeling and fullfilment are narrow. This type of process that vacillates between structure and intuition is comparable to the primitive dances, where the orchestrated movements are countered by spontaneity and chance.

I am moved by color relationships, but I don’t want my pictures appreciated solely for their spectral qualities. I want to express my feelings rather than illustrate them and I want my paintings to be highly expressive, conveying strong emotional content. I’m interested in expressing strong emotions and deep feelings, creating a meaningful dialogue with the spectators. With my work I want to immerse and envelop the viewers in a particular atmosphere, filled with emotions and thoughts, and encourage introspection and critical reflection.