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PAINTINGS
“Paper as the basis for a painting is in itself a metaphor for
artistic creation. The total destruction and shredding of the
material in order to create order from the ensuing chaos is the
ultimate expression.”
Art critic Jørgen Hansen in the catalogue “La Lionne“, Anne Vilsbøll,
Paris 1997.
“From a foating stream to a fxed and ordered form, like
the waves that slowly retreat from and return to the beach
- destruction and construction - again and again - a very
beautiful process, which you often wish was the fnal expres-
sion. The organised painting, fused by paper and form, is
silent. The structured painting, fused by paper, form and
added colour possesses an otherwise vibrating energy. The
paper becomes a geographical place. Like living creatures,
who adopt the colour of their surroundings, the paper
absorbs impressions from its surroundings.
Each geographical place, due to its geology, climate and light,
creates certain socio-cultural contexts in the use of colours.
Living in the middle of colour you do not see it. It is a part of
your self, it is yourself.
When I am travelling, I collect colours. When a culture
is different from my own, I can see the colours. The local
colours, deriving from geographical factors, such as geology,
the nature of the terrain, the sky, the light, the vegetation, the
buildings, materials, customs are expressed in the choice of
particular colours, contrasts, assemblages and harmonies that
are acceptable in specifc places. Colour changes, it moves
and lives.
This observation of the components of colour in its
surroundings is a fathomless well of information with one
constant: colour participates in defning the identity of an
area. It is loaded with signs and symbols. One can pass every
day in front of a wall without noticing it until the moment
comes when it is transformed by light. At this point, the tona-
lities shine and take on an entirely new sensorial dimension.
Colour is a language unto itself with its own rhythms, its own
curves and edges, its own sonorities and silences. Paper has a
functional invisibility. It absorbs colours, signs and planes in
the painting compositions. Through paper I wish to express
my impression of the colours of the surroundings. Because of
the paper, you do not only see the colours, you touch them.”
Anne Vilsbøll, 1997