Kasper Nordenström Jung - Poster 1

Exhibition Text (Swedish)

Att Bära Sig Själv

I mötet med målningen möts vi av bilden. Den figurativa eller abstrakta bilden förmedlar och möjliggör, genom pigmentet: narrativ och idéer. Då dessa enbart existerar som teoretiska konstruktioner drivs målningen iväg från rummet till tanken; från ”här” till ”där”. ”Här”, begränsad av fysikens lagar, ersätts av ”där”, med sin ändlösa potential. Målningen som bild är inte verklig, men vad gör det då den kan lova allt.

När Kasper Nordenström Jung förnekar målningen dess pigment, försvinner bilden, och målningen blottas därmed som objekt. Utan pigmentet blir linoljan sitt eget material: bärnstensfärgad, orörlig, och verkar nästan klibbig. I linoljans möte med duken förlorar duken sin mjukhet och stelnar till i en slags våt genomskinlighet. Stommen framträder här med träets alldaglighet. Utan bilden blir målningen kvar i rummet, ”här”, och verkar nästan ställa sig själv frågan varför den nu behövs. Genom frågan tvingas målningen att förhålla sig till sin materialitet. Begränsad men verklig. Bärare av sitt eget tillstånd.

Exhibition Text (English)

To Carry Oneself

In the encounter with the painting, we are met by the image. The figurative or abstract image conveys and enables, through the pigment: narratives and ideas. Since these only exist as theoretical constructions, the painting is driven away from the room to the thought; from "here" to "there". "Here", limited by the laws of physics, is replaced by "there", with its infinite potential. The painting as a picture is an illusion, but what does it matter as it can promise everything.

When Kasper Nordenström Jung denies the painting its pigment, the image disappears, and the painting is thus exposed as an object. Without the pigment, the linseed oil becomes its own material: amber-like, immobile, and sort of sticky. In the linseed oil's encounter with the canvas, the canvas loses its softness and solidifies into a kind of wet transparency. The frame now appears with the everydayness of the wood. Without the picture, the painting remains in the room, "here", and almost seems to be asking itself why it is now needed. The question forces the painting to relate to its own materiality. Limited but real. Carrier of its own condition.

Installation Images

Front - Room
Floor
Front - Detail
Angled 3

Opening 17.4.21

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Kasper Nordenström Jung

Artist Statement

My working hypotheses has been that through addressing painting sculpturally, I can shape bodily emotions and movements as expressions of psychological processes. I have therefore focused on materials that I have used when painting, and avoided hue to reinforce a sense of honesty towards this material.

The fact that I abstain from color and hue does not mean that I dismiss them as means of expression or their capacity to express what I intend. It is merely a conscious choice to assume a stringent position vis-á-vis the physical material. In addition, I acknowledge that materials qua matter unavoidably have hues which in themselves are expressive.

In my work process, I relate to painting as a mode of expression. Stretcher bar, canvas, panel, and linseed oil. Even sculptural materials as Jesmonite. The materials have been afforded the space to realize their inherent natures within the framework I have defined. The process, too, has been afforded the time it needs with linseed oil as the controlling or dominating agent. 

Emotions with friction have occupied most of my work. One reflection is that this it the type of emotion that propels emotional and personal development. Yet at once, it has become clear that it is no simple task to portray what we normally call positive feelings in a serious way. Which could be understood as an inherent conflict. Criticism and negativity are more often perceived as initiated. A strictly problematizing approach is neither necessarily sustainable nor desirable in the long run.

Education

2008-2009 - Wiks folkhögskola inriktning Konst, Uppsala

2009-2010 - Beckmans Kvällsskola, Stockholm

2011-2012 - Konst, kultur och ekonomi, Södertörns Högskola, Stockholm

2012-2013 - Gerlesborgsskolan, Stockholm

2013-2014 - Filosofi A, Södertörns Högskola, Stockholm

2014-2016 - Pernbys Målarskola, Stockholm

2016-2021 - Kungl. Konsthögskolan, Stockholm

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