Sofia Heinonen at Galleri Konstfack I, Stockholm, SWE

 Sofia Heinonen / Moist, still cradle

Galleri Konstfack I
Tellusgången 16, Stockholm

24 - 27 Mar 2022

Installation view

Installation view



Installation view



Installation view

Installation view

Installation view

Imprint (while time is)”, 213x148 cm. Oil on linen. 2022 (detail)

Time  (sepia, permanent yellow green) 2022"
150x100 cm. Oil on cotton. 2022 (detail)


Fuktig, stilla, vagga”, 41x33 cm.
Oil, acrylic and modeling paste on linen. 2021

Waves moves over edges go without," 150x100 cm.
Oil on cotton. 2022

Time (sepia, permanent yellow green) 2022"
150x100 cm. Oil on cotton. 2022

Imprint (while time is)”, 213x148 cm. Oil on linen. 2022

Circle (while time is)" 148x238 cm. Oil on linen. 2022

The edge (while time is)”, 210x148 cm. Oil on linen. 2021.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 


Fuktig Stilla Vagga/ Moist, still, cradle

The project "Moist, still, cradle” consists of paintings in which I worked with themes based on bodily experiences. I have therefore chosen a format close to my own body size. The scale helps me reach a state of "flow". An unconditional existence where I gain access to body memories in my artistic process. When I extend my arms, my hands just about reach around the painting’s outer edges. The edges are central in the exhibition. The edge opens up the possibility for me to relay the painting process to the viewer. When that edge is allowed to represent the process, there is a time shift from the act of painting to the present. I work with friction in my painting. Therefore, I sometimes replace the brushes with everyday objects in order to create resistance—such as a food knife, a wallpaper scraper or a tire. When I paint and using non traditional painting tools like for instance a tire, it does result in an imprint. Through gesture painting, I manage to reach the unconditional presence. During the execution, there is no room for doubt or do-overs; the gesture painting is a quick process with only one try. If I let myself doubt, it is reflected in the result. The combination of abstractions and natural phenomena—which is an important part of my art— is strongly linked to memories of being physically present in different geographical locations. I am also interested in the movement between these places; the journeys between the fixed and the temporary points of my life. In practice, commuting between urban and rural areas has a decisive impact on my colour choices. In the city, I never experience real darkness, nor silence. In the countryside, on the other hand, the circadian rhythm and transitions of light are constantly present.The lack of these phenomena has affected the theme of my painting and aroused my interest in light as well as my preference for colours reminiscent of nature. In the studio, where my
need for silence is constant, I try to recreate these moods.

Four days of confrontation
Without guarantees
Day five focused work
Capitulation
I am free
The more impulses, the closer
The reminder that everything is changing
Moist, still, cradle
 

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