These past weeks before Iris caught a fever. Feels awful to see her so low on energy but soon she’ll be better so many feelings one has to get used to. We are now in Mallorca for a little while, it really is such a healing place also I just rejoice in being able to to walk down the street and buy some bread and talk with strangers it makes me so happy to be amongst people I’d never be able to make it on my own. Also such a joy to see iris playing in the playground surrounded by her generation as strange as that sounds it is very beautiful. And would probably explain the fever. Seems wild how we make each other ill and through that make our common immune systems stronger. If I’m rambling I’ve slept around 3 hours. Coffee is helping me… hugs
One of the Four works show on this week with @christian_andersen_ is this work from 2021–2022 it’s a small chapel like drawer Titled simply ‘Yo/I’. Done with oil, paper and charcoal on a the beautiful asymmetrical drawer I was found one day while biking in Copenhagen. I then brought it with me to the studio and made the first attempts in that same evening and ended painting on it and some other works late into the morning. Sometimes on late nights in the studio and I’m completely exhausted a kind of melancholic joy can overwhelm. At once a feeling of wanting to be in bed with Maya sleeping and at the same time the joy of choosing one’s own time. For me this tiredness can amount to a flow state like none other. The only thing is knowing when to stop. If not the flow takes over until the work reaches a state of place of complete dissolution. It measures 41,7 x 44,5 x 7,7 cm and will be hanging up high at Booth 3C12 if you by any chance happen to be in @artbasel Hong Kong
While you’re there do yourself the favor and go check out @lc_queisser who’ll be showing the master Elene Chantladze at booth 1C30, wish I could see it!
Amongst it all I’m very happy to be showing this work and a few others soon at @artbasel Hong Kong with @christian_andersen_
‘Siete días de marzo / Seven days of March’, 2026. Oil and distemper on wood. 109 x 74,5 x 3,7 cm.
It’ll be in a shared booth with @arcadiamissa who’ll be showing @brads_choices and @lewislhammond , so I believe it will be a beautiful conversation between us all.
Dios.. this Paula Modersohn-Becker! ‘Weidender Schimmel im Mondlicht’ 1901 oil on cardboard and wood, 50x56cm it’s so hard to catch this kind of light evaporating and dry. Specks of light humming beneath greens and violets, ultramarine pink and indigo turned green. Looking at works by Modersohn-Becker and her peers she kind of levitates above them not through detail but through how she allows for the paint to communicate rough brushes feel the paint. Literally pushing it, and giving it a vibrating noise. Her work is like those unfinished Michelangelos which to me are more moving often that those rendered to perfection. As I write this it comes across wrong. Because what more could you want from a painting than for it to emit this kind of human emotion the experience of the world of its light and fellow beings this horse is alive as the moon is felt.
