The story behind my artworks
My life and my art are inseparable. Therefore, the essensial of my story must be delivered just as sincerely as the paintings and the drawings.
In my art world, I feel lifted, free and powerfull
A brief summary about the story that follows here:
As a child I was a competition swimmer, but as a 14-year-old I was hit by a cerebral haemorrhage that paralyzed me on the left side of the body. The rehabilitation went fast, but in 1982 I received epilepsy following the operation. As a 22-year-old I started a life as an art painter while studying for a teacher. At age 25, I was married to a Peruvian girl with whom I have two children. We have stayed in Peru for longer and shorter periods. Today I still have major problems with the epilepsy and live for myself in my studio where life is filled with painting. Then I am with my family on weekends. In principle, the story goes from the present and back in time, but nevertheless swings a lot back and forth in the time chronology, since the page structure consists of stories about some of my pictures, which must represent each of the periods, while the theme, style and relevance must also work together. All images can be found in the catalogs: "Paintings" and "Sketches and drawings".
Henrik Saar / Visual Art
In 2015 I founded a small company: "Henrik Saar Visual Art", and began participating in international expoes, biennials, museum exhibitions, galleries and various events for international artists basicly in USA, Italy, Switzerland, Austria, France and Germany.
I am always open to new agreements with galleries, arts organizations and museums.
I landed heavily in a new reality 2019
There is something about everything - OIL ON CANVAS 100 X 80 CM.
There is something about everything - It's just not all that matters, you could rightly say about this over-detailed painting that marks a shift in my life. Following an epileptic seizure in October 2017, a panic refugee followed, where I jumped out of the window of my apartment on the 2nd floor and fractured both my legs, my back, a few ribs and punctured a lung. and then I had half a year of hospitalization. Afterwards I came back to my studio, which my parents had moved to the ground floor of a new address. Here in my new apartment, I used the first year to rebuild myself both physically and mentally, and get a life back together. Everything seemed unmanageable and I really felt there was something about everything. Upstairs were the old days where you could just leave things alone, unless there was anything that needed special attention. Today there is no longer anything just there. Everything needs to be investigated and improved, everything is regulated by new laws and paragraphs. So there really is something about everything in a completely over-organized way.
First, I could certainly not like the motive in my painting of the fat old man on the bench, which with a helmet on the head resembles one of these epilepsy patients from Filadelphia epilepsy hospital, which I have never been able to associate with or even communicate with. So far, I have never seen myself so sick if anyone should ask me. Rather, I used to publish myself to be more healthy than most people. I always thought it was a shame for the poor people who were hospitalized for the Filadelphia Epilepsy Hospital. That I myself have been admitted there many times there, I have always meant had to be due to a misunderstanding. But now the accidents have been so many and so extensive that it must be time to unite them with myself. So I have to admit that I am quite heavy on the bench in my fall from the 2nd floor.
Moreover, in the painting, it is also me who is the baby and me, who are depicted in the background more like myself, compared to the heavy old man on the bench. How could it be so far? It looks like I've lost everything. To start as a baby again would be nice. Fortunately, I still have my family, my studio and my paintings that my life is inextricably linked to. But I have to say that the hardest thing about learning to fly is the landing.
Zuckerberg, Putin, Trump and myself 2018
Politicians, emoljis and myself
One might wonder suddenly to meet Zuckerberg, Putin and Trump in my paintings. It was paintings I painted in the hospital right after I had fallen off the 2nd floor and had fractured both my legs, a couple of ribs and my back. It was a situation where I saw so much television where there was always a feature about Facebook's role in the American election, Trump's eternal insistence on building a wall between the US and Mexico and Putin's role in the poisoning of an agent in England. So if I didn't just have to deal with my own tragic reality, then it was the outer reality that I met on television. First in the painting: "Make me smile" I start again to relate a little to myself, as here I express a desire to be greeted by a positive spirit that can bring me further, here expressed in emoli's.
impasto figurative series 2017
Mobile phone, pastose paintings and spontaneity
2017 was an experimental year where I turned 50 years old and both traveled to Zurich, Turin, Berlin, Ohio and to Nuuk with my art. In my studio, I experimented with new forms of expression inspired by my visit to Kunsthaus Zürich, which exhibited the Die Brücke artists and expressionism by, among them fx. Kirchner. In addition, of course, Giovanni Giagometti's glass mosaic in Grossmunsterkirke and Marc Chagall's glass mosaics in the Fraumünster church. Well Zurich put my symbolically minded mind in total boil. The coloristic immediacy and gravity I found exciting, so I hurried home and made a series of paintings with the concept that each painting should be made at max. 2 days.
3 different paintings about Marie Louise ( 2017)
Marie Louise series
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 (2017)
black paint floating around in the air
The painting, "Life ain't no dance on roses" 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 took it up again to use it as part of an experiment. I was, inspired by Jackson Pollock, when I started 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 as 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.
The painting, "Changes" is yet another of these paintings that were put in "short hook" and were therefore perfect to use for another experiment with liquid black paint, inspired by Jackson Pollock. 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 an by epileptic siezure. 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 using sgraffito and circles 2012 - 17
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 bead is enlarged and becomes a circle whose motif tells of each bead's thought. Thus, a religious act here is brought along with the windows 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 emolji symbols and other computerbased action buttons to express human interaction with the machine. In these oil paintings I have used the sgraffito technique, which emphasizes the texture of the paint.
The Halabja Chemical attack - Painting in 2008
Halabja - Oil on canvas 150 x 120 cm.
The massacre In Halabja
"I painted Halabja in 2008 in orde to support victims of the Halabja massacre in Iraq, which was subjected to chemical bombing, while Sadam Husain was ruling Iraque.
I started the painting outdoors at Axeltorv in Copenhagen, while my good friend, the composer Amanj Zarafian, who is from kurdistan him self, played some of his music on the occasion of the ceremony remembering the victims 20 years earlier in the the masacre 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 that's why I was there.
Now you don't make that kind of a painting in 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. Where were all the colors? And how could they ever sell a colorless poster?
In my opinion I agree with Picasso that it is not possible to express a masacre in colors. I insisted to try for 3 months, but when I was actually finished, I was attacked by despair. It all seemed to me to be superficial animation, with almost a kind of Walt Disney touch. So I painted it all over with black, and was close to a nervous breakdown. When I came back the next day, I could still see tracks from the actual painting below the black destruction. Then I scraped a little with a scalpel in my own black disaster and ended up with this strange sgraffito result: The motif was scraped free again, as if I was scraping dust and dirt away in its quest for the victims of a massacre.
I've painted myself into the picture. I break, and so did I during the process, as it is a hardy theme to work with. However, it is not far from me to paint myself that breaks. Just 3 years earlier, I actually smashed my face during an epileptic seizure, where I fell and hit the face directly into a high concrete edge where I broke my teeth and broke both mandibulae. So I had just been destroyed before I painted Halabja.
Starting mixing colors additively 2006 - 10
Additive mixing of colors
In 2006, I again had to challenge myself in my painting. It happens as soon as I get too used to do the same all the time. To feel bored is the last thing I accept in this life. So I meant, that I must be able to paint in another way! I wanted to work with the pure primary and secondary colors as a kind of alchemically process. First, I painted a motif from our living room in pure cadmium colors, but it wasn't quite what I seeked. I missed the tertiary colors, but as I only wanted to use pure primary and secondary colors this was a challenge. Therefore, I experimented with mixing the colors on behalf of their transparent properties. For instance by painting a blue layer, let it dry and then paint a yellow layer on the outside results in a shining green. By then letting it dry and painting a red layer on the outside, I achieve a brown. Perfect, but now came the dilemma: How do I achieve the grayscale and color tones when white as a starting point is not a transparent color? I solved this by building up a thick white bottom containing chalk in the paint before I applied colors. Thus, I could scrape color off with a scalpel where I wanted to brighten up lots of painting. Then I paint layers on layers of pure primary and secondary colors, and scrape off a bit with a scalpel in between. That's what you call sgraffito technique. The result is exciting, but it is a huge job. The pictures here are the first in the era where the interior image of our livingroom in cadmium colors shows how it looks when the paint is opaque, "The two old ladies" is the first painting, where I experimentally work with additive mixtures, while the other paintings are made in pure additive color mixtures.
Filadelfia epilepsy hospital, Denmark 2006
When I was admitted to Filadelfia epilepsy hospital in the summer of 2006, we had just returned from a one-year stay in Peru, where I had been seriously injured during an epileptic seizure. I had fallen and had smashed my head into a concrete edge, where I destroyed my teeth and broke my jaws.
At Filadelfia epilepsy hospital, we should therefore see if we could find another type of medication that could prevent such seizures. It became a longer hospitalization, so I designed a small studio on my living room. Here I drew and painted every day, as I would have done at home.
I sat down to draw and paint what was around me. Everything was interesting no matter how lifeless it could look. It is solely a matter of attitude towards life: Do you think that everything around you is dead and boring, then it becomes dead and boring, and also the opposite, everything can be made alive and interesting.
During the same period, my wife, Liliana, was very pregnant with our son Markus, which the painting "A letter from hom to Filadelfia epilepsy hospital" expresses. Here I implemented a drawing, which our daughter Marie Louise sent to me, in an interior with lamp and an open door. Inside the door, with a brush stroke, I have made the sliding movement of a piece of paper floating in through the door.
Below are both a series of pictures with the drawings, which I made as sudier and a series of pictures with the paintings that came later. It's all done live at Filadelfia epilepsy hospital.
Peru - A life in faith, hope and love 2005 - 06
We were often in Peru and around the turn of the millennium it culminated with longer stays until we decided to try to live in Peru to see how our lives would look like. We had a lovely house in Santa Rosa just north of Lima close to the beach. In addition, I rented a studio in the center of Lima right next to the art academy. The plan was here to start giving private lessons. I had already taught at the Art Academy and made a separate exhibition with 59 of my works at the Academy's museum (Centro Cultural de la Academia de Bellas Artes, so I had created some valuable contacts contacts. During our stay in Peru, we also went on a 300 km. pilgrimage in the mountains in the north of Peru. I also participated in a chatolic retreate, I was part of an exorcistic treatment, and participated in lots of religious worships i different churches, so it is no wonder, that my two paintings from Peru have got these religious motifes.
About over time in Peru, I must mention, that I was positive minded for a ltonger stay, perhaps even live there permanently, but only a few days after having thought that, I had an accident caused to an epileptic seizure. I fell directly with my face against anconcrete edge and destroyed my entire face. This changed our plans and within the next two month, I traveled back home to Denmark. But now, love is a living thing. Just short after my accident, Liliana, my wife gave me the lovely message: "I'm pregnant", she said. And I didn't know wether I should to laugh or cry. Ehe had tried to achieve that for 10 years, and right now was meant to be the moment. I've had several discussions with God during my stay in Peru.
Theological studies and faith in God 2003 - 05
Since I was a teenager, theology has interested me, and I consider myself a seeking human being. Therefore, I also chose to study religion as one of my main studies at the teacher seminar and subsequently I started studies in theology at Aarhus University. In 1997 I converted to Catholicism and during our travels in Peru since the mid-90s I participated in many Catholic ceremonies, and I was married in 2001 in a Catholic church over there, That's what comes to expression when I make a series of paintings inspired by the Bible. I'm glad to believe in God, and appreciate it very much so that it must be expressed in my pictures, just as anything else that matters to me is expressed.
Inspired by Kierkegaard and Kierkeby 1999 - 02
As a consequence of my teacher studies, where I specialized myself in existential aesthetics, becoming familiar with the Danish abstract artist, Per Kierkeby's universe and with a nearly present millennium change, dominated by nihilistic considerations during the postmodernism, I was suddenly strongly attracted to the abstract process painting. It appealed to me to construct a picturesque form only to destroy it and then reconstruct it again in a new different and abstract form. During this process a dialogue arises between painting and artist - A dialogue which I still appreciate in my the work with my paintings today, though I prefer to paint figurative. It is during this dialogue between me and my painting that the painting manifests its own logic in telling me, what the next step should be in order to succeed, what I'm doing. It is a way of working with painting that is far from the tight planning of a painting. My figurative paintings have subsequently been fertilized by this idea, and have given me the necessary security to dare to destroy something that I have otherwise used many forces to construct, then perhaps reconstruct it in a new and different way. It gives the painting an autonomy or a very special life, where the painting detaches itself from me, and finishes with its own premise because of the consequences of my actions along the way. Therefore, the abstract painting has an important place in my picturesque universe. Here I learned to listen to my painting and became more secure of my art.
Spontaneous impasto painting 1997 - 98
From the very simple figure sketch to the very picturesque universe
After years of very accurately and tightly drawing and painting one day I suddenly was hit by a inner revolution, a lust to destroy every fine line in my work. I had bought some overly large plywood plates that I would use to experiment with. So the paintings above are actually the results of my experiments. The sketches I used for inspiration, were ridiculous simple and really not meant for anything serious. As a matter of fact I realized, that exactly the simple character of the sketches was the best starting for a painting of this kind. It provokes to the free almost violent style with painter knife, where I throw freely around with paint on the canvas or the plywood plate like here. It's a very fast proces, and by first layer it's also almost finished. It's a thick layer, and can't be changed, once it's made and it's dry. From this period of so liberated and spontaneously work with the paint the step toward into an abstract world isn't far, and as we were day by day coming closer to the end of a millennium, I felt the necessarity of working faster and faster, and that was why I began creating abstract paintings.
Be yourself or become a wooden doll 1995-96
One self, the others and nothing - Oil on plywood 122 x 152 cm.
One self, the others and nothing (or everything) are my persistent theme, from which I also wrote my collection of poems: "The Ballad of One-Self", published by the publisher Algarve in 2004. The theme is based on the double love message from Christianity: "You must love your next as you love yourself and your God ". It is a theme that has worked me very much since my teacher studies both in 1988 - 89 and 1995 - 99, where I studied religion and art as special studies, and as self-student in theology at Aarhus University in 2004, where it was especially the philosopher Søren Kierkegaard interpreting me. A source of inspiration that still persists.
At the painting here I got one of our friends to sit model for me in my studio. He sits at the foot of what could be a cross, while there are 3 more editions of the same figure, which together revolve around the world's navel in the ground in the middle of the picture. This means, that the same person is shown in 4 stages or, that he turns his eyes in each direction: south, nort, east and west. In his hand he holds the plug to a lamp, but as long as he has no contact to plug in the plug, there will also be no light in the lamp. This expresses my idea of the divine as the luminous source that supplies us with energy. On the left side of the painting I painted the man who died in his effort to collect valuables. Behind him the earth opens up in a hole or a piece of heaven is laid down in the earth as a symbol of the limitation of mortal life, if God is supposed to be dead as we know it from Nihilism (which was again current with postmodernism in the 90s). In the front middle of the picture there is bread and wine as a symbol of Christ and at the bottom right side the snake in paradise turns away. It is thus a very visionary work, in which the whole palette of colors and symbolism is used at one and the same time.
Back in 1995 when I had just returned home after my first trip to Peru, where I was enriched with spirituality, mysticism and love, I was heavily inspired by the windows principle, which gradually became the norm in the Western world. At that time I painted it as shown in the picture series here specifically windows in my painting, where the wooden doll was an icon you could click on to bring oneself into emotional security. Back in my early teens, I have been busy with the computer, as seen in my early drawings. 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 starts to nterest me. There is often a combination of the two things in my pictures: The religious mystery and electronic communication between people. The wooden doll is, as said, a way of protecting oneself and keeping control of ones feelings. Maybe that's what happens to us when we fall in love with someone else with a computer screen in between us. We become: "comfortable numb", as Pink Floyd has expressed in their poetry on the album: "The wall". A way to protect yourself, which I only knew too well in my youth, when I had many wounds on the soul after my previous accident.
The golden series 1992 - 94
In 1991, I contacted the Danish - Swedish art painter Håkan Nyström, who's paintings had faschinated very much, when I saw them at an exhibition at Tønder Museum in 1990. until 1995 he taught me a lot about the painting techniques, in particular painting transparent layers as it was done classic Italian and Flemish oil painting. Here I only used the 3 colors: Indian yellow, crimson alizarin (red) and ultramarine blue + white. These are the same 3 colors that all my paintings have since been painted with. The paintings in the golden series all have a surreal character without being conceptual. During this series, I introduce some of the themes that will follow me: the spiritual, the suffering, the passion, the anxiety, the loneliness, the collapse, and the joy of showing.
My Peruvian ex-wife Liliana Socorro
Love of my life
In 1992 I met Liliana Socorro from Peru and we got married shortly after.
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.
My marriage, the feelings of my life's love have been a great source of inspiration. Whatever I paint, every time, it becomes yet another parallel picture story of how my life looks right now or where I'm 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, and Liliana is often part of the story.
Here is the driving force in my pictures. I am curious and need communication with my image to handle reality. Liliana Socorro is named after a saint, Virgen Perpetou Socorro, a Maria-like saint, whose deepest mission is to help and care. It fits well with my Liliana, so when I in some of my paintings pictures Perpetou Socorro it is every time with a deep thought of Liliana, who has always have been there for me and still is there, but now just as my best friend.
My parents mean everything to me
Me and my parents
My parents are some amazing people with a big profit for others. They have always been my greatest supporters, and because of my fate in life we have always been very closely connected, so when I paint them, it is always with great love. Only the blue-painted painting that portrays my mother as a woman with staring eyes was less affectionate. It was closer to a showdown with her, where I thought she was almost overprotecting me. A classic mother - son stuff in enhanced version. But it's important to me, that they appear as part of my story, because they mean everything for me, and it has always been important for me to seek their recognition for whatever I have done.
It does something to you to lose control
About me and the epilepsy
Epilepsy is like a short circuit in the brain and expresses itself in a myriad of forms. I have only a tried some of them, but in 2013 I was surgically treated for my epilepsy. This took the seizures, but left me with a new type of seizure, expressed in the form of Black outs, accompanied by a paranoid state where I flee from where I was at the moment the seizure began. I have to escape and come out at all costs, but unfortunately I am also out of control, so if the nearest resort is the 2nd or 3rd floor window or beyond the 5 meter balcony then the resort I choose is this. In short: I'm going out NOW! Such a seizure can last up to 5 - 10 minutes before coming back to myself.
The days after an epileptic seizure it feels like an LSD trip. I become manic and hypervisual. It is a consciousness-expanding feeling in which I have the feeling that there is a direct line to God. Everything makes sense, and I understand everything in a way that the whole world seemed to open up to me. These effects after attacks are the wildest trips I have had. Here I write manic idea for idea down on sketch blocks, coffee filters or whatever I find of paper. I'm boiling over, and it can take up to 4 days where I do not go to bed, and when I sleep, the visual activity continues in my dreams. Suddenly, I can start to laugh joyfully at sleep and not stop laughing at the rest of the night, fx. bacause I see how the world was created.
In addition to these seizures, there is anxiety to fight with because I never know when I get a seizure again, and can't feel it before the seizure is already going on. What provokes a seizure can be a mental tension, a frustration, insecurity, or just what we find difficult to explain in our daily lives, and there is pretty much of that in our lifes. If you wish to protect yourself from all these vibrations, don't do anything at all, or maybe even seek a state where you will end up being comfortable numb - a wooden doll! My pictures are all very inspired by Pink Floyd's universe. When I was 16 years old, I wrote the following quotes on my pencil case along with the drawing of a wall: "Mother, should I build a wall" and "Don't be surprised if a crack in the ice appears under your feet". Both quotes are taken from Pink Floyd: "The Wall" and could be headlines in my life.
It does something to you to lose control
The intensity in my pictures
The intensity is always very large in my pictures, and the symbolism is similarly bulky. To keep it concise, here I write a few words about the paintings above, starting with the first painting: It,s a self-portrait, where I'm surrounded by blood-red shapes while I'm hospitalized at Filadelfia epilepsy hospital, am I worried about what the doctor is planing about with me now. The running panic man is pursued by another man, while the bird Phoenix burns up in his own nest, death sends us a glance on the way out of the door, while the wounded Philoctetes holds on to his painful foot, and the hourglass is slowly running out of sand, before the runner reaches the South American barred door, where he will be able to adorn himself with a laurel wreath. In all, a picture that is a potpourri over my life. The next painting shows a struggle between an almost spiritual tiny physics, but strong power and the very physical, muscular man who faces the threat of being pushed over the edge. In the painting:By the Lord's left hand " I'm manifesting the skepticism that many have with religion: if there is a god, why are there suffering and accidents? The man at the bottom of the picture must try to avoid to not become hurt by the whip, which Jesus swings over him. The great despair is expressed in the painting of the man who holds his hands on his head, while the wind blows the waves of the sea into a beach. The whole composition is formed in moving waves to reflect his despairing mind. "The bridge" opens up a beginning madness, which unfortunately actually happened during painting it. The subsequent painting: "Hippocampus" is presenting the speculations I had about a pending brain operation where I had the hypocampus in the right side of my head removed. The subsequent painting: Rose thorns "leaves the idea about, that it has something to do with the brain and life itself, which it certainly also had. The painting: "Changes" seems to be a warning, that incontrollable emotions have started, which again was right. Hereafter follow a picture with a doctor, who is trying to convince one about, what is right and wrong. The painting of myself, going into the picture with a womb-like thing in tow shows a walk in a no-man's land towards a heart, that seems to be melting. Next painting depicts an old chair that looks very uncomfortable, maybe my greatest fear: The final chair of life the day you're not able to walk any longer. Hereafter follows the painting of a guiding angel showing the way out of the big forest towards a small lonely house, which looks like a kind of destiny to a life in lonelyness. In the painting: "Melancholy" pulls an aged man ahead with a hospital bed on a wagon while death is imperceptibly present in the upper right corner of the picture. With the years transparency in the paint will increase untill the day, where death will be revealed in the sky, because under the uppermost semi-transparent layer of paint death is completely finished as a skeleton, wings a large knife that extends all the way down the neck of the bald man.
At the next painting, a thick man sits on a bench with a bicycle helmet on his head reflecting over his existence, fromwhere it started untill now.
The half naked ocean-man on the last painting is in full swing with a dialogue with the divine in the sky.
All of these paintings or perhaps even most of my paintings touch on themes such as passion, mania, euphoria, spirituality, suffering, anxiety, and despair. It is all something that is part of my epilepsy, which, although I do not want to know about it, is aotomatically expressed when I draw, paint or write. It cannot be any different, for such is my life and that is what I express myself from. I can't express, what I ain't, and I'm certain, that there are more people out there, who struggle with similarly feelings, because I've met only very few "normal people", but i've met a lot of people, who appreciate being met by a picture, in which they can chose to integrate their own story.
Copenhagen - Here I Come 1991
The plunge -
Oil on canvas
122 x 100 cm.
Now I had really come to Copenhagen, and my mission was to realize myself as an art painter. I so much wanted my mother and father's recognition for my bold life decision. They are represented here as the blue woman and the bald blue man, while the pressure of expectations hung over my head as a heavy purple fear of not being able to perform.
The story continues backwards to the roots