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Filler on board, pine panel
My works are cast in pine panels using standard wall filler (not cement).
The drawing shows the house where I grew up, reduced to its dividers—cross-like lines closing the surface.
A smell, sound, or piece of music can suddenly bring the past vividly back, making it feel almost more real than the present—until you remember it’s gone, sealed off.
Nostalgia is powerful. It can comfort and teach us. But when used politically,… it becomes dangerous. Fascist movements have long exploited it, repurposing idealized pasts to promote authoritarian and xenophobic agendas.
We must resist this. Glorifying the past risks hiding the truth: past prosperity often relied on injustice and prejudice, now resurfacing as open racism.
To move forward, we need a future built on real equality and shared freedom—not opportunity for a few, but security and dignity for all.
« 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.