Selected picture stories



Latest painting

"There is something about everything" - Oil on canvas 100 x 80 cm.

Danish:

Dette maleri markerer et skift i min tilværelse, hvor jeg efter en alvorlig ulykke med både brækkede ben og ryg og med et halvt års indlæggelse på sygehuset kom tilbage til mit atelier, og skulle få et liv til at hænge sammen igen. Alt virkede uoverskueligt, og jeg følte virkelig at der var noget ved alt. Slut var gamle dage, hvor man kunne nøjes med at iagtage ting omkring sig og blot lade ting være der, hvis ikke der lige var noget, der irriterede en. I dage er der ikke noget der bare er der. Alt skal undersøges og forbedres, alt bliver regulleret med nye love og paragrafer. Så der er virkelig, på helt uoverskuelig vis, noget ved alt. 

I billedet er det mig selv i baggrunden, der kigger på den tykke trætte mand på bænken, og  kigger på en baby med en bold in hænderne. Den lille baby er for øvrigt også mig, der åbenlyst spiller bold udenfor banen. Det er nok min dybeste følelse med dette maleri. At jeg lige nu ikke har overskud til mere end at spille bold uden for banen, hvor jeg ikke skal forholde mig til, at der er noget ved alt.

English:

This painting marks a change in my life, where after a serious accident with both broken legs and back and with half a year's admission to the hospital, I returned to my studio and had to get a life to hang together again. Everything seemed unmanageable, and I really felt there was something about everything. Over was old days, where one could just keep in mind about things and just let things be there, unless there was just something that annoyed one. Now a days there is nothing that is just there. Everything needs to be investigated and improved, everything is regulated with new laws and paragraphs. So there really is something about everything, in a completely disorganized way.

In the picture, it is myself in the background looking at the thick tired man on the bench, looking at a baby with a ball in his hands. By the way, the little baby is also me, who obviously plays ball outside the court. It is probably my deepest feeling with this painting: That I do not currently have the profit for more than playing ball outside the court, where I should not relate to anything about everything.



"Halabja" - Particularly remarkable work

Dansk:
"Halabja" malede jeg i 2008 for at minde og støtte ofre for massakren i Halabja i Irak, som blev udsat for kemisk bombning. 

Maleriet påbegyndte jeg udendørs på Axeltorv i København, mens min ven, komponisten Amanj Zarafian spillede noget af sin musik i anledning af mindehøjtidligheden på 20 års dagen for masakren i Halabje.
Mit maleri skulle jo netop laves som udlæg til en plakat, der skulle doneres til fordel for ofrenes familier, så derfor var jeg der.
Nu laver man jo ikke sådan et maleri på en eftermiddag, så jeg tog maleriet med mig hjem i mit atelier. Efter 3 måneders kamp med maleriet stod jeg med det færdige maleri, hvis udtryk vist nok overraskede kurderne meget. For hvor var alle farverne? Og hvordan skulle de nogensinde kunne sælge en farveløs plakat?
I min optiker jeg enig med Picasso i, at det ikke kan lade sig gøre at udtrykke en masakre i farver. Jeg prøvede i 3 måneder, men da jeg egentlig var færdig, malede jeg det hele over med sort. Da jeg dagen efter kom tilbage, skrabte jeg min egen lille katastrofe fri med en skalpel, og endte med dette mærkelige reasultat: Motivet var skrabt fri igen, som man skraber støv og skidt væk i sin søgen efter ofrene for en masakre.                                                             

 

English:
I painted "Halabja" in 2008 to commemorate and support victims of the massacre in Halabja in Iraq who were exposed to chemical bombing.    

I started the painting outdoors at Axeltorv in Copenhagen, while my friend, the composer Amanj Zarafian played some of his music on the occasion of the commemorative ceremony on the 20th day of the Masakren in Halabje.
My painting was supposed to be made as an outlay for a poster that had to be donated to the victims' families, so I was there.
Now one does not make such a painting on an afternoon, so I took the painting home with me in my studio. After 3 months of struggle with the painting I stood with the finished painting, whose expression probably surprised the Kurds a lot. For where were all the colors? And how could they ever sell a colorless poster?
In my optician I agree with Picasso that it is not possible to express a masquerade in color. I tried for 3 months, but when I was actually finished, I painted it all over with black. When I came back the next day, I scraped my own little disaster with a scalpel and ended up with this strange reasult: The motif was scraped free again, scraping dust and dirt away in its quest for the victims of a massacre.



3 different paintings about Marie Louise

Marie Louise series

Danish:

Denne serie med Marie Louise er interessant at sætte sammen, deri at de 3 malerier viser 3 meget forskellige stilarter og udtryk, der allesammen er blevet til i samme periode. Så snart mine malerier begynder at ligne en gentagelse af sig selv, sker der et lille oprør inde i mig. Jeg bliver nød til at bryde rytmen, inden jeg begynder at kede mig. Det værst tænkelige scenarie for mig er kedsommeligheden. Jeg bliver nød til at udfordre mig selv, for så at vende tilbage til det kendte, dog med den tilføjelse, at jeg lærte noget nyt igen under mit eksperiment. Det er måden, jeg lærte at male på - Ved at tænke over en handling, og så udleve det - A never ending story!

Titles on the paintings:

"Life ain't no dance on roses" - Oil on canvas 70 x 60 cm.

"End of discussion" - Oil on canvas 70 x 60 cm.

"sms-me" - Oil on canvas 70 x 60 cm.

English:

This series with Marie Louise is interesting to put together, in that the 3 paintings show 3 very different styles and expressions, all of which have been created in the same period. As soon as my paintings begin to resemble a repetition of themselves, a little rebellion happens inside me. I have to break the rhythm before I start boring. The worst case scenario for me is boredom. I have to challenge myself, then to return to the familiar, with the addition that I learned something new during my experiment. It's the way I learned to paint - By thinking about an action and then living it - A never ending story!



Jackson Pollock inspiration

Life ain't no dance on roses

Danish:

Dette maleri var egentlig ment som et portræt af vores datter Marie Louise, men jeg var ikke glad for resultatet, så det endte i første omgang med at blive et af de her malerier, som jeg valgte at gemme væk. Efter et års tid tog jeg det så frem igen med henblik på at bruge det som led i et forsøg. Jeg var, inspireret af Jackson Pollock begyndt at eksperimentere med flydende sort maling, som jeg lod flyde fra en pensel holdt hen over lærredet. Effekten forskrækkede mig, da jeg pludselig så min egen datter angrebet af truende sorte former, der ligesom blev hældt ud af roserne omkring hende. Efterfølgende blev jeg skældt ud af resten af familien, og jeg må nøjes med at gemme maleriet lidt væk igen og ikke pille for meget i betydningen ud over, at det i den grad udtrykker den frygt, vi alle sammen går rundt med: Frygten for at alt, hvad der er smukt og uskyldigt pludselig går i stykker.

English:

This painting was actually meant as a portrait of our daughter Marie Louise, but I was not happy with the result, so it ended up being one of those paintings that I chose to hide away. After a year's time, I looked it up again to use it as part of an experiment. I was, inspired by Jackson Pollock, starting to experiment with liquid black paint, which I let flow from a brush held over the canvas. The effect frightened me when I suddenly saw my own daughter attacked by threatening black forms, which, just like being poured out of the roses around her. Subsequently, I was scolded by the rest of the family, and I just had to save the painting a little bit away again and not pill too much in the meaning beyond that, to the extent that it expresses the fear we all go around with: everything that is beautiful and innocent suddenly breaks.


Changes

Danish:

Changes er endnu et af de malerier, der var stillet i "skammekrogen", og derfor blev taget i brug, da jeg inspireret af Jackson Pollock skulle eksperimentere med flydende sort maling. Igen holdt jeg penslen over lærredet og lod den sorte maling flyde rundt i luften som en fritsvævende tuschpen. Det færdige udtryk skræmte mig igen, da maleriet pludselig kom til at udstråle en slags knitren fra nervetråde omkring ens hoved, som jeg personligt kender under store omvæltninger. Så net, denne form for abstrakt ekspressionisme er bestemt ikke min livret. Det kommer hver gang for tæt på, og jeg frygter vanvidet mere end nogen anden. Dette maleri kom altså ikke mere frem i lyset end det var før, men alligevel er det spændende en gang imellem at gribe fat i disse lidt dybere ting, som enhver seriøs kunstner bør komme omkring.

English:

Changes is yet another of the paintings that were put in "short hook" and were therefore put to use as I inspired by Jackson Pollock to experiment with liquid black paint. Again I held the brush over the canvas and let the black paint float around in the air like a free-floating pen. The finished expression scared me again, as the painting suddenly radiated a kind of crackle from nerve threads around one's head, which I personally know under great upheaval. So, net, this kind of abstract expressionism is certainly not my favorite. It comes too close every time, and I fear more than anyone else. So this painting no longer appeared in the light than it was before, but nevertheless it is exciting once in a while to grasp these little deeper things that every serious artist should come around.



Paintings with windows

Windows system, lonelyness and spirituality are sources of inspiration

Danish:

 Tilbage i 1995 blev jeg stærkt inspireret af windowsprincippet, der efterhånden var slået igennem hos det almindelige menneske i den vestlige verden. Dengang malede jeg det som vist i billedserien herunder konkret som vinduer i mit maleri, helt tilbage i mine tidlige teenageår har jeg været optaget af computeren. Det har dog aldrig fanget min interesse, hvad computeren kan, men derimod, hvad den gør ved os. Det er samtidig den åndelige påvirkning af mennesket, der interesserer mig. Der er ofte en kombination af de to ting i mine billeder: Troens mysterium og elektronisk kommunikation mellem mennesker.

English:

Back in 1995, I was heavily inspired by the windows principle, which gradually became apparent to the common man in the Western world. At that time I painted it as shown in the picture series including concrete as windows in my painting, right back in my early teens I have been busy with the computer. However, it has never caught my interest in what the computer can do, but what it does to us. It is at the same time the spiritual influence of man that interests me. There is often a combination of the two things in my pictures: Mystery of faith and electronic communication between people.



Paintings with circular windows

Danish:

I 2014 begyndte jeg at komponere malerier med cirkelvinduer. Først var jeg inspireret af ideen med en kvinde, der sidder på en stol og tæller perler på en rosenkrans, hvor hver perle forstørres op og bliver til en cirkel, hvis motiv fortæller om hver perles tanke. Således bliver en religiøse akt her ført sammen med det windowssystem, som vi er vant til at se foran os på en komputerskærm, nu blot i cirkler. Disse cirkler overlapper hinanden præcis som vi er vant til at have flere lag vinduer åbne på samme tid på vores computerskærm, og tilligemed tilfører jeg i nogle af disse malerier emojlsymboler og andre handlingsknapper som udtryk for den menneskelige interaktion med maskinen.

English:

In 2014, I began to compose paintings with circular windows. First I was inspired by the idea of a woman sitting on a chair and counting beads on a rosary, where each pearl is enlarged and becomes a circle whose motif tells of each pearl's thought. Thus, a religious act here is brought along with the window system, which we are used to seeing in front of us on a computer screen, now just in circles. These circles overlap exactly as we are used to having multiple layers of windows open at the same time on our computer screen, and in addition, in some of those paintings, I add emoji symbols and other action buttons to express human interaction with the machine.




South American influence on my paintings

My Peruvian wife - Oil on shipboard 81 x 65 cm.

Danish:

I 1992 mødte jeg Liliana fra Peru, og vi blev gift kort tid efter, da hun besøgte Danmark på et 3 måneders visum. De første år i Danmark var et kulturchok for hende, og der var meget at undres over, som f.eks. at vi kasserer ting uden at prøve at reparere dem, som man ville have gjort i Peru. Her har jeg malet hende med ryggen til og med en indkøbspose i hånden, mens hun står og undres og længes efter sin egen Peruanske kultur.
Peru fik en kæmpe indflydelse på mit liv og dermed også på mine billeder. Kulturen, religionen og folket med det spanske sprog tog jeg altsammen til mig, og vi blev en tokulturel familie, da vi fik børn. Herfra kommer både min religiøsitet og dybe rene farvetone.

English:

In 1992 I met Liliana from Peru, and we got married shortly after, when she visited Denmark on a 3 month visa. The first years in Denmark were a culture shock for her, and there was much to be wondered about, such as. that we discard things without trying to repair them as one would have done in Peru. Here I painted her with her back even a shopping bag in her hand while standing and wondering and yearning for her own Peruvian culture.
Peru had a huge influence on my life and thus also on my pictures. I took all the culture, religion and people with the Spanish language to me, and we became a bicultural family when we had children. From here comes both my religiousness and deep pure hue.



Danish:

Mit ægteskab, følelserne i mit livs kærlighed er min absolutte primære inspirationskilde. Uanset hvad jeg maler bliver det hver gang endnu en parallel billedfortælling af, hvordan vores liv ser ud lige nu eller hvor vi er på vej hen. Det er fornemmelsernes udtryk / underbevidsthedens sprog, som end ikke jeg selv forstår, men billedene taler altid sandt.
Heri findes drivkraften i mine billeder. Jeg er nysgerrig, og har brug for kommunikationen med mit billede for at kunne håndtere virkeligheden. Jeg har således et personligt eksistentielt forhold til mine billeder, og er mest inspireret af henholdsvis Munch og Van Gogh, da jeg i dem finder træk i deres historier, som jeg genkender i min egen historie.

English:

My marriage, the feelings of my life's love are my absolute primary source of inspiration. Whatever I paint, every time, it becomes yet another parallel picture story of how our lives look right now or where we are heading. These are the expressions of the sensations / the language of the subconscious, which even I do not understand, but the pictures always speak true.
Here is the driving force in my pictures. I am curious and need communication with my image to handle reality. So I have a personal existential relationship with my pictures, and are most inspired by Munch and Van Gogh respectively, when I find in them stories in their stories that I recognize in my own story.


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