Birgitte Lund / Artist Statement

Freeing the painting from two dimensions.

Normally, when a painting hangs on a wall, the viewer perceives the image as a single painted surface.  However a painting doesn’t need to be a single layer object.   

There are two principles I work with to make a painting more than a flat medium.  The first is to work with several layers and the second is to compose several works together.

The first principle:

By working with many layers, I transform the painting into a physically three-dimensional object.  The painting is constructed from many layers where different types of papers and textures are stuck onto the canvas in geometrical compositions.  Expressive surfaces and tracks in, lacquer, glue, latex or putty are painted, sprayed, poured or printed on. Tracings or projections of a self-developed symbol and shape alphabet, are enlarged, reduced, blurred, minimized, emphasized, retold, transformed or made solid until precisely the right expression arises.   This grid of fragmented tracks, the many layers, suggested figures and solid shapes together form the painted landscape.  (See, for example, “Ice Landscapes”, “Sub Landscapes” and “Cross Sections”).

 

Horizontal dividing lines are sometimes added to paintings.  In these works colour takes over.  The colour compositions are built up through many layers of glazingSome areas are translucent to emphasize the underlying stories, and in other places the coloured lines are solid, powerful and dominating.  The colours create a body that unites the “skeleton” or story in the landscape painting, melting the different layers together.  (See, for example, “366 A Year of Psychedelic Landscapes” and “Psychedelic Landscapes”.)

 

The second principle

In the second principle, several works are positioned together and the many works become an installation.    The paintings multiply to form larger works, that unfolds horizontally and vertically following the room’s shape and expression. The works create a dialogue and play up to the specific space they occupy.  (See, for example, “366 A Year of Psychedelic Landscapes” and “Psychedelic Landscapes”.)

These two principles are employed to express the inner experience of natural form and landscape, and create multi-work installations  where the works can be experienced singularly or together.  These installations have names like ”Close Up – Far Out”, ”The Relief of Horizontal Lines”, ”Ice Landscapes”, ”Sub Landscapes”, ”Tree Paraphrases”, ”Powerflowers”, ”Cross Sections”, ”Psychedelic Landscapes”.

In the coming period, I will experiment with new working methods to develop these two principles – and add a third.

 

The third principle

The third principle concerns a painting’s relationship to three-dimensional objects.    By exploring and working with new materials, I will make reliefs, mould shapes, construct and build figures.  Soft, sharp, smooth, round, rectangular, large, small.  Coloured, engraved, painted.  These sculptures, like my paintings will be inspired by nature.  I will elaborate and “spatialise” the concept of multiple works - on the walls, on the floor, from the ceiling – together with the paintings, to create a total installation in all dimensions.   In this way, spaces will be created where the viewer finds themself present in a three-dimensional painted landscape that has been inspired by natural landscapes.