Guy Frisk – Utbrott, 70x50cm, 2011
By Kjell Ekström
Guy Frisk is one of Åland’s most established artists. Watercolour is one of his most important means of expression, but he also paints in oil and tempera. Collage and sculpture are also part of the production. Guy Frisk was awarded this year’s Winson & Newton Prize for his genuine life-long artistry where the watercolour art always has been and is of importance. He has wilfully pursued his watercolour technique from a restrained mode of expression towards a more expressively colourful and experimental brushwork.Guy Frisk has often worked with watercolour as a basis for paintings in other techniques. He does not have any direct models within art. He has wanted to develop an independent style.
Flushing and flowing
By JBK Ransu
In connection with the exhibition “Nordisk Akvarell 2010” in Reykjavik, Iceland, last October, there was an exhibition consisting of works by eleven young Icelandic artists, entitled “Flushed”: Arna Gná Gunnarsdóttir, Arni Pór Arnason, Björk Viggósdóttir, Gunnar Helgi Gudjónsson, Ingirafn Steinarsson, Ingunn Fjóla Ingpórsdóttir, Kristjana Rós Oddsdóttir Gudjohnsen, Marta Maria Jónsdóttir, Olöf Dómhildur Jóhannsdóttir, Rakel McMahon and Pórdis Jóhannesdóttir.
By Jacqueline Stare
Lars Lerin’s brushwork includes everything from deepest, natural, and also most cumbersome, mental darkness to the most aerial light in small as well as very large paintings. There is always light in some way in his paintings, whether from a single lamp or some few sources of light in a dark building, or a landscape, or the dancing almost unreal shimmer in a mosque or the warmth in a sunlit landscape or glittering water. To depict light in different ways is perhaps his most important theme, it is through light that everything else in a picture is defined. For a short period, about ten years ago, Lars Lerin painted rather much in oil but returned to the watercolour technique. In that he is fully secure, he masters it and any possible fear of the material is gone since long and he enjoys experimenting to the full. Considering the actual time that watercolour painting after all takes and also the time it takes to write – Lars Lerin is very productive both as a painter and as an author – requires a strict work discipline and he is a very good disciplinarian.
Lars Eje Larsson
By Jacqueline Stare
The watercolour technique has literally speaking held Lars Eje Larsson in its grasp since the 1970s. He painted in oil already at the age of 12. At that time, he painted large, colourful canvases and through his expressionist brushwork he attracted great attention at exhibitions in which he took part from the age of 13. From the beginning, Lars Eje Larsson painted watercolours according to all the rules of the art, but soon the desire to paint, the joy of experimenting and his own temperament took over. Light and contrasts are important in his artistry: contrasts between various surfaces and forms, painted and left open. He demands a lot not only from himself, he also puts demands on us who meet his pictorial world. We are brought into a brushwork where we ourselves must often fill out hinted forms according to experiences and imagination. We are thrown between light and darkness, between chaos and order, between pure abstraction and more of less figurative/realistic forms.
The developmental psychology of painting
By Kurt Bergling, ThD, PhD, professor em. in the Psychology of Religion, University of Lund, Sweden
An outline of a cognitive developmental theory of painting is presented. The focus of cognitive developmental psychology is the study of change in the structures of thinking from early childhood throughout the life span. The Swiss psychologist Jean Piaget was the originator of this field of research. Empirical evidence shows that cognitive development proceeds through roughly three stages. Artistic thinking is postulated to follow a similar developmental sequence. The same structures of thinking is at work when you are painting as when you are solving other tasks. The dynamic development of artistic thinking is described in three stages:
(1) the preoperational stage (originating in early childhood) governed by experiences obtained through sight and touch;
(2) the concrete operational stage (originating in middle childhood) governed by the concrete surrounding world, and
(3) the formal operational stage (youth through adulthood) governed by abstract thinking.
This article highlights how these three stages may be seen in your work as a painter and reflect your progress in artistic cognitive developmen