An Imaginary Parallel Universe
Jesper Palm's paintings are existential in nature. A reckoning with reason, they draw us into a seemingly familiar universe that, on closer inspection, is revealed to have no rational coherence: A landscape that never quite gels. A structure, perhaps architecture, that does not hold anything together. Night and day at once. Time and space are eliminated, objects dislodged from their immediate logic, making room for the viewer to contribute her own views, reflections and longings.
Jesper Palm on 'An Imaginary Parallel Universe':
The figurative is the entrance to my pictures, but not in a realistic sense. The pictures are enigmatic and built as staged tableaux with fragments from many different locations. The pictures also include several different times, day and night or summer and winter. The fragments appear immediately individually realistic, but in their combination they form an imaginary parallel universe.
The layout for my paintings is based on an extensive sketch and screenplay. Digitally, I combine, vary and compose my own photographic recordings with different visuals from books, newspapers, movies and Google maps.
In my paintings I experiment with restoring the colors in relation to the specific presentation. This results in an additional displacement in the image, in the same way that a conductor colors his score with his own interpretation.
To create a continuity in my process, I often transfer a sub-motif - such as a figure or landscape fragment - from one image to the next. Sometimes almost hidden at other times just flipped. In doing so, I achieve a process in my process - almost like a movie.
The images invite the viewer to participate in the story themselves. There are no given solutions to the embedded puzzles. It is the recipient who completes the image with his own amazement.
My themes revolve around existential issues. It can be about crossing an inner as well as an outer border. Or being in a no man's land with no other goal than wonder. It is an important mental space, because through the amazement insight can be created.
Overall, I work with volatility as a basic condition of life. In the unstable are both unseen opportunities and inherent potential dangers. It is in this ever-present frontier country, a seemingly well-known country, but perhaps still without a name, that my pictorial world takes its starting point.