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I did this work by scraping with a pitchfork in the wet filler.
The pitchfork symbolises popular revolt against those in power, especially in the fight against capitalism, but also for populist groups on the right. Historically, it was farmers who used the tool during protests against landowners.
The stripes in the picture resemble the folds of a curtain. One of the curtain's functions is to regulate the visual transition… between outside and inside. The window can be a metaphor for the junction between the inner linguistic experience and the outer, material reality. The curtain marks the boundary between the home, the private sphere, and the general public. It signals security both from inside and out. But perhaps it is through struggle and resistance that we establish a more authentic relationship with the outside world? Where we don't passively stay inside and observe but participate and actively shape our experience for ourselves and others.
« 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.