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I made this work by pressing my fingers from below down in the wet filler, like reaching over the edge of a tall table.
It can vaguely resemble marks from hands reaching out, trying to pull the painting inside the wall when mounted—almost imitating a scene in a horror movie. The fringes mean the outer and lesser important part of an area or a group. This work might remind us that dispossessed, marginalised, and repressed groups… won't remain invisible forever. An unjust system is not sustainable.
It may also speak about the notion that what is at the centre isn't always what's most important. The framework, the border that defines what is included and excluded, might be any systems most prominent feature.
« I am interested in process-based painting, and the profound solitude of the human mind. While exploring one, I sometimes try to formulate something about the other, and how it affects our relationship with the outside world. »
Johan Söderström is a nationally-distinguished Norwegian painter. His works consist of layers of filler where various fields are laid beside each other, like pieces in a puzzle, and he uses his unique technique to emphasize cracks, textures and other aspects the material's own history. He primarily explores the theme of human alienation, and aims to ensure that his aesthetic can be perceived in ways simple enough to diminish the distance between viewer and work.