Fredrik 厂枚诲别谤产别谤驳
Fredrik 厂枚诲别谤产别谤驳's paintings contain images from a variety of sources that have been woven together in an ornate story of the pursuit of beauty and the essential. Whether it concerns a spiritual or philosophical search, or a meeting between them, 厂枚诲别谤产别谤驳 dives down to the sources connected by fantasies about truth. Among these truths lay myths, philosophies and above all aesthetic persuasions whose ambivalence put the fate of humanity in the balance.
From the spiritual hunger, which Max Weber came to describe as the world's disenchantment, arose a yearning for a national soul. A collective spirit grounded in something far from the harshness and complacency of the iron cage of rationalism. With sentimental eyes the Germanic roots were sought out, deeply buried in their own and in Norse mythology. At the time, these were interpreted as tales of yore with a new reality in a timeless, disrupted connection with culture and nature, reason and spirituality, the pure and distorted.
In 厂枚诲别谤产别谤驳鈥檚 book Styx (Galleri Riis, 2014) a despairing ambivalence is highlighted, in which bloodshed becomes a necessary evil, when blessing is reached through sacrificial rite. The journey towards death; through the river Hades, revelations, nirvana or the transience of life. The descriptions have been loaded with intensity and an eclectic abundance in a discordant memento mori. Here lays a discerned worldwide journey of the hidden, like a rope tied around the ominous words of myth.
With Germany's embellishment of the past, a longing for the countryside slowly came to life. Lebensreform and Ernst Haeckel coining the term ecology was a decisive step in the journey back to nature. The Romantic idea of a symbol-filled nature was turned into a comprehensible discourse. A universal religion, with discernible roots - more powerful than abstract worship. Nature would fill a degenerate world with meaning. The counter-cultural movements that embraced nature as a fully animated being also included vegetarianism, temperance, nudism and alternative medicine. The fragmentation of the pleasance resulted in immeasurable falls down the abyss, where liberating influences became pointers and role models became despots. 厂枚诲别谤产别谤驳鈥檚 travels in their remnants can be read as a repudiation, but also reminds us of an unfettered state of prosperity and decay. The good of evil, the evil of good.
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Fredrik 厂枚诲别谤产别谤驳's paintings contain images from a variety of sources that have been woven together in an ornate story of the pursuit of beauty and the essential. Whether it concerns a spiritual or philosophical search, or a meeting between them, 厂枚诲别谤产别谤驳 dives down to the sources connected by fantasies about truth. Among these truths lay myths, philosophies and above all aesthetic persuasions whose ambivalence put the fate of humanity in the balance.
From the spiritual hunger, which Max Weber came to describe as the world's disenchantment, arose a yearning for a national soul. A collective spirit grounded in something far from the harshness and complacency of the iron cage of rationalism. With sentimental eyes the Germanic roots were sought out, deeply buried in their own and in Norse mythology. At the time, these were interpreted as tales of yore with a new reality in a timeless, disrupted connection with culture and nature, reason and spirituality, the pure and distorted.
In 厂枚诲别谤产别谤驳鈥檚 book Styx (Galleri Riis, 2014) a despairing ambivalence is highlighted, in which bloodshed becomes a necessary evil, when blessing is reached through sacrificial rite. The journey towards death; through the river Hades, revelations, nirvana or the transience of life. The descriptions have been loaded with intensity and an eclectic abundance in a discordant memento mori. Here lays a discerned worldwide journey of the hidden, like a rope tied around the ominous words of myth.
With Germany's embellishment of the past, a longing for the countryside slowly came to life. Lebensreform and Ernst Haeckel coining the term ecology was a decisive step in the journey back to nature. The Romantic idea of a symbol-filled nature was turned into a comprehensible discourse. A universal religion, with discernible roots - more powerful than abstract worship. Nature would fill a degenerate world with meaning. The counter-cultural movements that embraced nature as a fully animated being also included vegetarianism, temperance, nudism and alternative medicine. The fragmentation of the pleasance resulted in immeasurable falls down the abyss, where liberating influences became pointers and role models became despots. 厂枚诲别谤产别谤驳鈥檚 travels in their remnants can be read as a repudiation, but also reminds us of an unfettered state of prosperity and decay. The good of evil, the evil of good.
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