In new surroundings, on the travel, the senses are sharpened. Slowly the eye uncovers new angles. New interactions appear, and the contrast to the well-known becomes the starting point of new sketches.
The strange is explored. Elements are examined and described, providing material for absorption. –
Later, with the necessary distance in time and space, the impressions are transformed into oilpaintings in the atelier. – Until, again – it feels necessary going out, to look up the tense atmosphere of which the sketches are born.
The interchange between the near and the distant, the well-known and the strange becomes a pattern, supporting the exploration of the possibilities of the colour, and leading towards the composition of the pictures.
Colours jotted down as transient sketches on the travel, are being saved. – The sketch however soon becomes secondary. – The colour, is not only what the eye is seeing. The reminiscence of the colour is what slowly appears on the canvas.
The colours of the South seen through the filter of the senses, and by Nordic daylight – might be the same colours as those you find in a Danish meadow a day in late summer.
The yellow being a meadow of blooming dandelions, the dusty dry sand in Yucatan, the pyramids in Tikal….
The blue being the violets of spring, the shawl of the indians in San Christobal, the sea, the sky….
The construction, the composition of the pictures is the skeleton carrying – and trying to control the life of the colour.