Motivation: Ylva Ogland has been awarded a grant for her painting characterised by in-depth knowledge of classic handcraft at the same time as she conveys a composed and substantial message, regardless of whether she chooses her models from life itself or from art history’s store of paintings. Her skill with colours has also resulted in monochrome paintings with a message to the viewer that extends beyond the one-coloured surface, which is by this time, the tested signal to the rest of the world. Ylva Ogland has, apart from her painting, shown great scope when it comes to expressing herself with entire environments with the help of a number of different materials such as pictures, moving as well as static. Step by step she has opened up her artistic territory to totally new worlds.
Motivation: 2004’s grant goes to Meta Isaeus-Berlin for an artistry that explores the individual’s relationship to the private room. With an exacting objective poetic theory, Meta Isaeus-Berlin has “furnished” interiors in a way that has made them impossible to use for anything other than a reflection of concepts such as compulsion and freedom. In her latest exhibition, at Olle Ollsson’s house in Hagalund in autumn 2003, a simply furnished room was placed against a weightless and transparent visual picture of the same room. With its obviousness and lightness of touch, the exhibition became a tribute to the poetical imagination that can be found in the pictures of memory.
Motivation: Karin Mamma Andersson has been awarded a grant for painting that has regenerated and expanded the borders for narrating in picture form using dream’s ability to let incompatible rooms be projected onto each other. Landscape scenarios and interiors are projected onto each other and create an ambiguity around the participating figures. The anxiety-ridden is mixed with the playful and she allows us to experience the difficulty in making clear definitions from what we understand from our senses. As viewers, we encounter painting that both entertains and disturbs but where the pleasurable handcraft draws us further and further into the narrations of the labyrinths.
Motivation: Maria Hall stretches the elastic connection between art and nature to its utmost. In her monochromic, light paintings there is a hardly discernable movement, like a breath, the artistic has been reduced to a minimum. In the sketches representing forests, the details and coincidences that are part of nature have been replaced by an austere and abstract order that transforms the forest into visual music. In this way painting performs like nature, purified from all figurative elements, and nature is pictured as strictly organised artworks. A dream-like poetry is created around the point where art becomes nature and nature becomes art.
Motivation: Sonja Larsson’s play of lines, both the curved and the straight, give rise to a musical movement that frees the lines from the canvas. They live their life free in space, sometimes in front of and sometimes behind the painted-on canvas. It is in this constant changeableness that space dissolves, the placement and stability of the walls is no longer established but everything is sucked into a flow. Those who experience and accept this flow no long stand firmly rooted at one point but let themselves be carried away by the visual music. The viewer experiences pleasantly poetry’s ability to alter both the passing of time and the boundaries of space without any other journey being undertaken other than that made by the concentrated attention when regarding the work. In order to achieve this result, Sonja Larsson has developed a refined and subtle handcraft that makes her play of lines look as though elastic bands have been stretched over the flat surfaces. The traces of the brushwork have been obliterated. She places her viewer in front of the paradox that a denial of the means and goals of the painting result in exquisite painting. With this relationship to the craft she places herself in a tradition where she can brace herself against such predecessors as Kasimir Malevitj, Piero Manzoni and Yves Klein at the same time as she brings something that is her own and a very personal contribution to this tradition.
Motivation: “A painter who has given her all to painting. Her “standpoint”, read into a CD, is a fascinating piece of the essence of poetry where she wanders into her own paintings as though she was a stranger. Marcel Duchamp pointed out that the first viewer of an artwork is the one who made it. In that respect Eva Kerek appears worthy of imitation, she is the first person who lets herself be surprised and fascinated by her own actions. According to her, the work begins with a painting like a tale with its source in her mind, a tale that loses everything in meaning – as the painting process takes over. Painting follows its own logic and the literal content has to give way. It is painting rich in nuances where the thick and refractory in the colour harmonises well with the light and ethereal in beautiful glazings and schumring methods. The perspectives can change within one and the same picture and give rise to complex room structures, a togetherness that Eva Kerek has the skills to take further which will enrich her possibilities of expression.
Jackson Pollock coined the phrase ”give-and-take” about his action above the canvases, about the dialogue between the happenings in the picture and what was going on within the artist. Eva Kerek can make that concept her own. Her painting shows clearly that it is an instrument to gain knowledge about her own feelings and their relationship to the world around her. This form in her two-dimensional world sometimes demands to step out into what is weighable and measureable, as the case with ”horse-camel” makes even clearer. What painter doesn’t want to assure him or herself that what goes on in fictional space has something to do with the physical world? To seek that confirmation contains the morality of art.”
Motivation: Åsa Larsson’s brush undertakes a breakneck journey through both nature and culture, through both the timeless and through the kitsch and banalities of the topical, but in spite of the speed and the ferocious mixture she doesn’t lose control of the structure of her tale. Colouristically she manages to mix sensitively felt variations in nature with dazzling neon colours. Narrative zest intimates that she enjoys this world at the same time as her view can be critical. There is a nod to colleague August Strindberg when she paints her magnificent toadstool standing alone in the forest.