My recent artwork is based on digital reproductions of paintings from the (western) art history canon. A historiography consisting of so-called “masterpieces”. I select digital photos of well-known paintings and print them on paper. Then, I work impulsively and improvised. I draw and paint on the images in a swift process where I try to separate the movements of the hand from the conscious mind, thus evoking subconscious impulses. “Automatic drawing.”
I photograph the images, transfer them to a computer, manipulate them, print them, and then I repeat the process.
I decompose the images. I distort them. I enhance colors and composition. I replace elements. I create something new out of something old. No end result ever occurs. There is no final product, only an endless process. A visual story telling where the past meets the present in a motion towards the future. I call each image a “remix”.
The purpose is to make the creative process visable, and to explore the subconscious and iconographically influenced art practice. However, the images are at the same time interpretations that can give access to new ways to regard or understand well-known motives. The questioning of originality versus reproduction. Where do we draw the line between “genuine” and “fake”? What significance does words like “original”, “masterpiece” and “genius” have today, during the escalating and constant flow of images we are exposed to each and every day?