Memory Painting

Artist statement Experiences from interactions between people depend on chemistry, just as encounters between different materials depend on chemistry. Human encounters are first visual, and then we connect senses, experi¬ences, interpretations and emotions. My approach to the artistic process is based on the notion that "Enco-unters are chemistry". It is said that "an individual's ability to perceive an object they draw is the most important stage in the drawing process". I want to experience the opposite - what happens when I let "the brain be in the hands". I am fascinated by the Dadaists' idea of automatic drawing, namely let¬ting the hand move on the paper to create, without thought or aware¬ness of what it will necessarily become. It requires me to let go of any notion and conscious content at the moment I begin the work. I use im¬pulse, composition and tools to create movement, tones and expression. It's about sensing, discovering and creating, without there being any goal beyond creating in it self. The interesting occurs when I connect per-ception after the work process. When I look at the painting, I tend to want to find something that I can "see" and connect to experiences from my own life - such as objects, stories, symbols or narratives - in the art work. An ambition for me is that the expressions provide different levels of in¬terpretation, not only for me, but also for the viewer. Precisely because the subject is not given, the viewer perception will create or find an understanding in it based on individual life experiences. The experience of the paintings image becomes so much more than the image itself. This connection is the goal when my works are to be seen. First visually, then the connection with ones perception. Hopefully making the work relevant to the viewer.