GALLERI FAGERSTEDT, HÄLSINGEGATAN 18, PRESENTERAR
"SHINE" - PER KESSELMAR
Nya målningar - olja på stål, koppar och aluminium
23 februari – 1 april 2017
(for english scroll down)
VÄLKOMMEN PÅ VERNISSAGE
Torsdagen den 23 februari kl 16 – 20
VÄLKOMMEN PÅ ARTIST TALK
Lördagen den 11 mars kl 14
PER KESSELMAR måste anses som en av Sveriges bästa målare i den minimalistiska genren. Inspirationen från amerikanska minimalister som Robert Ryman och Agnes Martin är närvarande men även referenser till en mer romantisk färgfältsgenre som Mark Rothko och ännu längre tillbaka från dimlandskapens mästare William Turner. Per Kesselmar målar uteslutande med den vita färgen på metall. Han använder ett oändligt antal nyanser av vitt i tunna skikt som appliceras lager på lager, med början i mörka nyanser med en gradvis övergång till ljusa. Målningarna tycks oscillera på näthinnan, de har en optisk rörelse, ibland tycks de röra sig in mot betraktaren och ibland ut från rummet.
Vi möter ett gränslöst måleri, utsträckt i tid och rum, som lika väl handlar om färg och ljus som om skugga och mörker. Med ytterst enkla och poetiska medel skapar han synintryck och upplevelser av måleriets yttersta gränser.
PER KESSELMARS minimalistiska måleri interagerar med och utmanar vårt seende. Det får oss att observera rummet, ytorna, ljuset och skuggorna så som de för tillfället uppenbarar sig. Han laborerar med den vita färgen i flera lager i olika nyanser, han installerar minimala objekt i rummet där ljuset faller som bäst. Ytterst nyanserat och välbalanserat har han bemålat ytor av bly eller järn. Han låter återsken, reflektioner och skuggbildningar förlänga verken på väggen och i rummet. Hans verk är finstämda och poetiska, de talar tyst som en viskning men har en tendens att växa och expandera med ljuset och med tiden. Här behöver vi ge seendet den tid som det behöver, se ytorna som talar till varandra, färgerna som framträder på näthinnan, rörelserna… allt framträder så småningom för den som observerar noga.
Per Kesselmar är född 1960 i Stockholm där han bor och verkar. Han är utbildad vid Kungliga Konsthögskolan (examen 1990) och vid Valands Konsthögskola (examen 1986). Han har varit verksam med många separatutställningar i Sverige sedan 1993, har fått flera stipendier, bl a från Konstakademin, och är representerad vid svenska museer, bl a Moderna museet i Stockholm.
Läs Sabrina Möllers intervju med Per Kesselmar (scrolla ned)
Per Kesselmar must be regarded as one of the most interesting upcoming painters in the minimalist genre. The inspiration from American minimalist artists like Robert Ryman and Agnes Martin is present but also connotations from more romantic color-field painters such as Mark Rothko or older times misty and diffuse landscape painters as, for example, William Turner. Per Kesselmar paints exclusively with the white color on metal plates. He mixes the white paint in an infinite number of shades and works with several extremely thin layers, beginning from darkness and paints towards light. His paintings are in optical oscillatory motion, they can appear to vibrate, to verge in the background wall or penetrate into the room. Per Kesselmars installations with steel sticks and a mixture of natural and artificial shadows sharpens our sight and spatial experience with very small gestures and expressions.
For the soloshow SHINE at the gallery we present paintings with white oil paint on steel, copper and aluminum with several thin layers of white paint in different nuances of white and an installation with steel stick, aquarelle paint and natural shadows as an important part of the piece.
All together the pieces appears to be stretched in time and space. The works appeals as much to be about color and light as well as about shadow and darkness. With extremely simple and poetic mediums, the artist creates visual impressions and experiences at the painting's outer limits, artworks that occur temporarily on the retina at the moment here and now in a sublime way.The works of Per Kesselmar interacts with and challenges our sight and visions will emerge gradually for those who observe carefully.
INTERVIEW WITH PER KESSELMAR
Per Kesselmar shows his fascination with light in his works. In his paintings, the Stockholm-based artist mixes different shades of white paint on large sheets of metal. In his sculpture, he works with the existing exhibition space to play with reality and to create an atmosphere for the viewer. The following is an interview with Sabrina Möller, in which he explains his artistic process and his unique relationship with the viewer.
In the 1990s, you were working with colors like yellow and orange, but now your works are dominated by different shades of white. How did that come to be?
I have always been fascinated by light and very bright colors. That came very natural to me. Bright colors have been my main interest from the start. As a painter, I find it fascinating to create light… The most interesting to me is the sublime and to explore our perception: what we see and what we are.
At first glance, your paintings seem to be mostly monochrome. But you work with different layers of white paint mixed with small quantities of other colors. In the documentary about your work I’ve seen that you mix these colors directly on the surface of the painting. Why is that? Could you tell me more about what the process looks like?
Actually, I used to have all my fingers covered in paint, each a different color, which I then would mix with white. With the various colors, I can tune the white paint to a warmer or cooler tone, the way I want it to. I work in many layers and I work with the transparency to open up the space of the canvas and to see through it.
Are there certain criteria as to which color will be next?
No, the process is very intuitive. The material I work with is very important. I work with different kinds of metal. I choose colors that correspond with the material.
Instead of using canvas, you paint on iron, aluminum, brass, etc. To what extent is the surface of the material important to you and to what extent does it define your work?
I find metal very exciting to work on because of its flat surface. Moreover, metals like iron and lead appeal to me, because of there extreme contrast to the light. Metal also darker, which creates a dramatic contrast with the white. I always choose to show a bit of the material underneath at the edges.
When did you start to develop this kind of formal language? Is there a kind of an origin moment?
It was a moment when I was working on a copper plate print and I thought that the copper plate was actually much better than the print. That was at the Royal Academy in the 1980s. And since then I have been working like that.
Where does the inspiration for your works come from? Do you have a certain idea in your mind or how do you develop the subject of the work?
I want to give the viewer a sense of the present. The sublime present and the sublime reality of which we all are a part as humans. That is what I want to give the viewer. I also work with the existing room, shadows, and different kinds of objects which reflect light or make shadows. I play with reality to bring attention to what is happening in the here and now—a sort of way of guiding us to the present.
The existence of light always implies the existence of shadows. You create light in your paintings, but on the other hand you create shadows with your objects, which interact with the exhibition space. Tell me more between the interaction of the objects and the space and the connection of light and shadows.
I like to play with reality. The most important thing for me is to make an atmosphere for the viewer and not to create a single work. It’s about creating an atmosphere for the space into which you’re entering. I use the format of the exhibition to further play with reality, to paint shadows and to catch the viewer’s attention to what’s happening in the here and now.
Repetition seems to be a key characteristic of your work. Would you agree with that?
Yes, my work can be perceived as repetitive. Sometimes I feel like I’m working on the same painting year after year. However, the painting is never-ending. I see the multitude of paintings as a single continuous work.
How important are aspects such as aesthetics to your work? Do you see your works as decorative to a certain degree?
The decorative is perfectly fine with me, although I can’t say it’s my main interest. I don’t see the sublime as something decorative, but rather as a sense of belonging to the viewer.
// Sabrina Möller, march 2016
Onsdagar 13 – 17
Torsdagar 12 – 17
Fredagar 12 – 17
Lördagar12 – 16
GALLERI FAGERSTEDT, HÄLSINGEGATAN 18, 113 23 STOCKHOLM, SWEDEN
+46 70 628 78 85, GALLERIFAGERSTEDT.SE, INFO@GALLERIFAGERSTEDT.SE