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Me and my daughter Amanda-Mei



I’m a painter who believes in the power of the picture.

A good picture shouldn’t require that the observers are well-read in recent philosophy of art, or that they have just read a bulky and hard-to-digest exhibition catalogue. The picture must capture its observers by its own power. This is not to say that a catalogue text or a title cannot help them to understand it.


My goal with a painting is not to make it work as a kind of Rocha test, where the observers can interpret anything according to their own disposition and experiences. That is anyway, to a certain degree, inevitable. Instead, I want to transmit the ideas that I have put into the picture to those watching it, which doesn’t mean that these could be expressed in a short and concise sentence. Had that been possible, the painting would be redundant.


I prefer to work with good old linoleum paint (from that fantastic plant that in addition provides us with fibers and wholesome fatty acids), which are unsurpassed for catching deep and light effects. That it can also be used to paint over unsuccessful parts is not a disadvantage, especially when it comes to portrait painting.


However, the choice of materials is ultimately determined by the picture to be created. And sometimes a mixed technique, using water-colour in the bottom and cerate pens in the next layer, works best.