I sin tredje soloudstilling hos Bricks Gallery vender Pauline Fransson tilbage til København med en ny serie oliemalerier på lærred i varierende størrelser, alle indrammet i olieret eg.
I Den blottade jorden fortsætter Fransson sin undersøgelse af forbindelsen mellem kroppen og naturen. Gennem maleriet kredser denne nye serie om heling og reparation. Værkerne drager paralleller mellem kroppen, der heler efter et åbent sår, og naturen, der regenererer sig selv om foråret efter en kold vinter. Da både menneskekroppen og verden omkring os er i konstant forandring, undersøger værkerne, hvad det vil sige at hele under stadigt skiftende vilkår.
Denne forbindelse bliver endnu tydeligere i udstillingen. I landskaberne optræder svage figurative former, der minder om fragmenter af kroppe eller kranier. De antyder, at det menneskelige og det naturlige ikke kan adskilles, men deler lignende strukturer og betingelser.
Farven rød løber som en gennemgående tråd gennem udstillingen. Til tider dominerer den hele malerier. Andre steder optræder den som en skygge eller i kontrast til mere jordnære toner. Den viser sig i små spor, der markerer øjeblikke af intensitet, sårbarhed, modstandskraft og forvandling. Samtidig peger det røde på evnen til at være i bestemte tilstande, at acceptere dem og at tilpasse sig.
Flere af malerierne er opkaldt efter specifikke steder og datoer og henviser til lokaliteter, der har særlig betydning for kunstneren. Det er steder, hun har besøgt for at skitsere og opholde sig i, mens hun har iagttaget, hvordan naturen langsomt heler sig selv. På den måde forankrer titlerne værkerne i levede erfaringer. Heling fremstilles ikke som noget afsluttet, men som noget, der udfolder sig gradvist.
[ENG, original tekst]
For her third solo exhibition with the Bricks Gallery, Pauline Fransson returns to Copenhagen with a new series of oil paintings on canvas in varying sizes, all framed in oiled oak.
In Den blottade jorden, Fransson continues her exploration of the connection between the body and nature. Through painting, this new series centres on healing and repair. The works draw parallels between the body recovering from an open wound and nature regenerating itself in spring after a cold winter. As both the human body and the world around us are in constant change, the works explore what it means to mend within ever-evolving conditions.
This connection becomes more pronounced in the exhibition. Within the landscapes, slight figurative forms appear, resembling fragments of bodies or skulls. They suggest that the human and the natural cannot be separated, but share similar structures and conditions.
The colour red runs throughout the exhibition as a recurring thread. At times it dominates entire paintings. Elsewhere, it appears as a shadow or in contrast to more earthy tones. It emerges in small traces, marking moments of intensity, vulnerability, resilience, and transformation. At the same time, the red points to the ability to be within certain conditions, to accept them, and to adapt.
Several of the paintings are titled after specific places and dates, referring to locations that hold particular meaning to the artist. These are places she has visited to sketch and spend time in, observing how nature slowly heals itself. In this way, the titles ground the works in lived experience. Healing is not presented as something resolved, but as something that unfolds gradually.
Kilde:
Bricks Gallery
Bricks Gallery