Tobi Elkin in Arts, Artifact, New York
“Inspired by the flow of the unconscious, Anders Wallin’s paintings represent ambiguous, yet muscular patterns. Wallin has a strong grasp of the importance of applying colors and contrasts in his work in order to jump-start the viewer’s imagination. He lightens the background of his paintings and lays abstract patterns on top. The interplay between the forms produces magnetic, glowing energetic color fields.”
SPACES AND BOUNDARIES IN THE WORK OF ANDERS WALLIN
By John Austin 2015
Fired by an elemental understanding of the flow of the unconscious, Anders Wallin’s polyphonic paintings have a thoroughgoing sense of elegance and grace. Paint, spilling, splashing, flowing from the tip of his brushes coalesces to form remarkably synthetic, yet ambiguously sinuous patterns. Once applied in what appears to be a mental state of nuanced control the artist’s colors and febrile contours take shape within Wallin’s worlds in which horizons, edges and the unseen world in general is manipulated in order to get our imaginations moving. The result is electrifying.
Art, like life, rests within its details and Wallin has a strong grasp of the importance of applying colors and con- trasts in his work in order to jump-start the imagination of the beholder. The artist has overlaid this reading of his work with more subtle nuances. The renderings of shapes and outlines which might generally be related to the retinal recognition might be seen as equivalent to Sartre’s imaginative consciousness. As he states in his The Psychology of the Imagination, “it presents itself as a spontaneity which produces and holds on to the object.”
By contrast, Wallin lightens background on which rests his abstract patterns with what may be seen as equiva- lent with Sartre’s “perceptual consciousness.” The interplay between forms produces glowing energetic fields. While many of the artist’s process-oriented work has a constructed look, it is a construction that seems tenta- tive, filled with contingency. This process gracefully brings home the point that the universe, while seemingly stilled is yet unpredictable at its core, ready to change and alter its state of being from one moment to the next. In effect, the artist is deeply immersed in delineating for us, the viewers, what he perceives as an elemental condition of life, which finds its equilibrium through an interior force of counter-harmonies.
Unlike the academicism of what might be considered “traditional” post-modernism, which continually attempts to shock and re-shock anew its audiences, Wallin is guided by a sensibility, which eschews de-stabilization, substituting in its stead an urge toward integration and assimilation. He is guided by the act of acknowledging and incorporating qualities that are derived from non-aesthetic and non-formal sources. Similarly his sensibili- ties are multi-layered as they are at once highly disciplined, intuitive and self-conscious as the artist applies his efforts to reject the premise of a supposed rupture with the past and an inevitable apocalyptic denouement to the post-modern condition.
A N D E R S W A L L I N
Born in Gävle, Sweden in 1953. Living in Gustavsberg outside Stockholm.
Education
1972-73 Grundskolan för konstnärlig utbildning
(Contemporary school for basic artistic education)
1973-74 ABF:s Konstskola (ABF Artschool)
1974-79 Konstfack
Represented at
The National Swedish Artmuseums, The National Public Art Council, The Swedish Parliament, The Swedish Confederation of Trade Unions, The Bank of Sweden, Oslo county council, Stockholm county council, The Swedish Art Society, The Museum of Norrköping, Stedelijk museum Amsterdam etc.
Oneman exhibitions from 1988
Gallery Händer, Stockholm 1988
Gallery Händer, Malmö 1989
Gallery Keruben, Göteborg 1989
Åland Art Museum, Mariehamn 1990
Gallery Benbasat, Norrköping 1990
Gallery Händer, Stockholm 1990
Gallery Keruben, Göteborg 1991
Society of Art Promotion, Örebro 1992
Society of Art Promotion,Sthlm 1992
Gallery Caroli, Borås 1992
Bild och form, Västerås 1993
Gallery De Unga, Stockholm 1993
Gallery Focus, Oxelösund 1994
Greitz, Stockholm 1994
Stockholm Art Fair 1994
Gallery St Gertrud, Malmö 1995
Lilla Galleriet, Umeå 1995
Stockholm Art Fair 1995
Gallery Victoria, Halmstad 1995
Gallery Plantage, Göteborg 1995
Ekebyhov castle 1996
Nacka Art Hall 1996
Åland Art Museum, Mariehamn 1996
Le chateau d’Argenteuil, Brussels 1996
Konstforum, Norrköping 1996
Society of Art Promotion, Örebro 1996
Stockholm Art Fair 1997
KunstRai, Amsterdam 1997
Galerie Artline Amserdam 1997
Galleri Sjöhästen Nyköping 1997
Galleri Jan Wallmark 1998
Konstförmedlarna Stockholm 1998
Stockholm Art Fair 1999
Galleri Viktoria Halmstad 1999
Stockholm Art Fair 2000
Galleri Ronnquist och R. Malmo 2001
Täby Konsthall 2002
Sthlm Art Fair 2002
Galleri Kim Anstensen Göteborg 2003
Sthlm Art Fair 2003
Galleri Tom Tarquinia Italien 2003
Konstfrämjandet Uddevalla 2003
Kostfrämjandet Örebro 2003
Konstfrämjandet Uddevalla 2003
Konstfrämjandet Uppsala 2003
Sthlm Art Fair 2004
Nacka konsthall Dieselverkstan 2004
Konstfrämjandet Halmstad 2004
Galleri Eklund-Wallmark, Stockholm 2004
Lydmar hotell, Stockholm 2004
Konstfrämjandet, Umeå 2005
Galleri Sander, Norrköping 2005
Galleri Alexander, Åland 2005
Galleri Sander, Linköping 2006
Galleri Liro, Karlskrona 2006
Galleri Sander, Sandefjord, Norge 2006
Galleri Royal Blue, Hägernäs 2006
Galleri Eklund Wallmark, Stockholm 2007
Galleri Royal Blue, Hägernäs 2008
Edsviks konsthall, Sollentuna, 2009
Galleri Sjöhästen, Nyköping 2009
Galleri Liro, Karlskrona 2009
Galleri Rita, Göteborg 2009
Galleri Miva, Malmö 2010
Bodens konstgille 2010
Lilla Galleriet, Umeå 2010
Galleri Jan Wallmark, Stockholm 2011
Galleri Jan Wallmark Stockholm, 2014
Artifact Gallery New York, 2015
Lilla Galleriet Umeå 2016
