Torild Inger Børretzen – Blå vase og krukke, 34x24cm
Torild Inger Børretzen
By Jacqueline Stare
Torild Inger Børretzen is from the beginning a trained ceramist. That training gave her a good artistic basis but it was not ceramics that she wanted to work with. She continued with training in painting and graphics as well as an artistic decorator schooling in Norway. Colour is important to Torild Inger Børretzen, irrespective of what technique she works in and she has the same basis when she builds up a composition whether it is a still life or a landscape. She often cuts down the motif, and clears it in order to sharpen the expressiveness and to create excitement in the picture. She finds support in her absolute conviction that what she works with is important not only to herself but also in different ways to very different people. She has quite simply something to share with others. The series of Stockfish watercolours started in frustration during a period of ill-health. It turned into a whole exhibition of fish watercolours and one was shown in Bilbao in 2006 at the ECWS exhibition there.
By Jacqueline Stare
Nature is the constant source of inspiration to Bengt Jacobsson in his painting. One or another building may slip into his pictures, like a trace of human life, but there are never any figures, neither people nor animals.As he was as old, almost thirty, when he started in earnest to go in for watercolour painting, he has not attended any formal road of schooling but has instead attended many courses. Arne Isacsson was to him an important teacher. Bengt Jacobsson extremely seldom – actually never – washes out a watercolour. If he has been unsuccessful, he often puts such pictures aside and parts of them may later on be used in collages. In his studio one sees an intense winter landscape where the minimal edges of the bits of paper nevertheless create a feeling of relief when the light falls so that they are visible to the naked eye.
By Kelly Lindblom
Erik Langemark was well-known in the Blekinge County, famous in his home town of Karlskrona, but fairly unknown on the national scene of art. The landscape of Blekinge was his studio and inexhaustible source. Year after year, in innumerable paintings, he strove to catch the light and form of the landscape in the impression of a moment. Out in the field, outside the city, he felt greater freedom in his painting, free of the historic task. He could then disregard the detail, work with coarser brushes and let the colours of the pallet play over a still more extensive register. The light in his landscape filled him completely, that was the main motif. The light, the vibrating light, to find the shimmering colour experience, to give it shape. He painted over and over again to show us this unique light, its various guises, at different types of weather and at different times and different seasons. He found it difficult to paint in other places but in Blekinge.
Jón Axel Björnsson
By JBK Ransu
Jón Axel Björnsson is an Icelandic painter who came forth during the era of new image painting. He painted raw and painted it all. His oils were (and still are) raw and fleshy, yet open and empty, figurative but based on abstract formalism. During the late 80´s Jón was one of Iceland´s blue chip artists. In recent years he has laid low but is still actively painting. In 2008 he had a solo show at Studio Stafn in Reykjavik that consisted solely of watercolours. Jón has, from the very beginning of his career, done watercolours on an equal footing to oil painting, using the medium´s character to its own advantage. Thus his watercolours lack the flesh of the oil but are instead layered with transparent depth. His pictorial language is the same whether it is made up with oil or watercolours. Figures wander about in abstract scenery. There is tension between the figures and the forms. The tension is inevitable since they occupy the same pictorial space. It is in the hands of the artist to make it a persistent tension, not static.
By Lasse Sandström
Like so many other aquarellists, Andrzej Ploski started as a graphic artist. He had his schooling at the Academy of Arts in Krakow, Poland. In 1975 he moved to Sweden. Andrzej Ploski does not see himself as a classic watercolourist. He paints by first adding colour so as to then fill in with some pencil lines and pull the back of the lead pencil through the not yet dry colour in order to create white lines. What he finds so exciting with watercolour painting is the quick process. One has to concentrate to a maximum, make some strokes of the brush, fail and then try again. He does not discard the paintings he does not approve of. Sometimes he discovers exciting details and cuts the watercolours into pieces and uses them in new connections.