Samuel Åhlman — Further still
08/02/2020 - 14/03/2020
Painter Samuel Åhlman’s recent works are based on a constantly growing archive of photographs from his long daily walks. The artist’s preoccupation with time acts as an adhesive between the walks and Åhlman’s paintings
Repetition and returning are the key elements of these walks. The artist returns to the same spots and records them during different seasons and different hours of the day, which makes the spots turn into new spots each time. Åhlman’s photographic notes are then sorted into different categories, where they take on a new role as an incentive to start painting.
Åhlman’s practice is based on an ongoing process of continuous research, observation and exploration of images and materials. As the fragments pile up through layer upon layer of paint, together they build a new, constructed landscape in a mode of constant development. Between the layers of paint and repainted surfaces, new visual environments emerge.
As the act of painting begins, the reference image gradually loses its value in terms of evidence of actual truth. It is dismantled into different parts, areas and surfaces and transformed into a cavern of possibilities.
In the studio, different projects constantly cross paths and correspond with each other. Processes transform into results, and vice versa. Disparate materials clash and react; they register the artist’s movements as well as his decisions and desires. By always working on several paintings simultaneously, the artist makes the transition between them become seamless. This allows one painting to affect another and ties the different paintings together into a greater whole.
Further still is the continuation of an ongoing exploration of a constructed landscape, built from photographic fragments collected during Åhlman’s expeditions.
The exhibition is centered around the horizon and turns the landscape into fields of color and paint. The exhibition consists of group of paintings presented as one larger piece of art. By utilizing different formats ranging from pocket size to large scale Åhlman encourages the viewer to explore the horizon through time and space.
Three key dichotomies play a major role in the exhibition – escape vs return, time vs time spent and most importantly noise vs complete silence. These dichotomies disclose themselves through the constructed landscape that Åhlman built by placing each individual piece of work in a larger context.