The exhibition title Disintegration points both to The Cure's album with the same title from 1989 and disintegration as a term for a whole that splits into smaller components. Disintegration is used, among other things, in the physics of an unstable atomic nucleus that splits into smaller components to achieve stability. In the social sciences, disintegration is used as a description of the breakdown and dissolution of societies or organizational structures due to a lack of common values or leadership. In the paintings that make up the exhibition Disintegration, there are layers of references to the time when Tømmerås's interest in art arose at the end of the eighty and early nineties. An important reference is the meeting with Hannah Ryggen's tapestry at Nordenfjeldske Kunstindustrimuseum in his hometown Trondheim. Ryggen´s tapestry has as stated by his latest works, still great significance for Tømmerås. Another reference is the encounter with the first personal computers with design and image processing software. The artist himself describes his latest paintings as "a form of painterly interpretation of a hybrid between tapestry and digitally constructed images."
The method Tømmerås uses in the development of the Disintegration paintings is not new to him, but the expression in the pictures has nevertheless changed. The details in the figuration are fewer than before, the motifs are simplified, and the colours are clearer. The photography as a sketch for the compositions has been replaced by a multitude of line drawings, which are developed into construction drawings assembled into digital layers. The treatment of the image surfaces as textile is central. It's like he's dying in fabric. The fine canvas structure becomes an integral part of the clean colour surface. A physical image is created in balance between the paint and the canvas, without the use of visible brush strokes or other painterly gestures. The colour scheme in the exhibition's three largest collage-like paintings is respectably dominated by red, green and blue. The associations go in the direction of mosaic and stained glass. These paintings consist of single modules that are assembled together into complete motifs. "Disintegration Blue (noisy-le-grand-mix)" tears down and rebuilds a postmodernist and neoclassical urban landscape from a suburb of Paris, "Disintegration Red (Kaffee-burger-mix)" is based on hundreds of snapshots from Kaffee Burger in Berlin and in "Disintegration Green (hotel-angelina-mix)" we look out at a visually shattered junction in a rural northern Italy. In all the images, the oil paint is like an unprotected membrane over the stretched canvas and the absence of a protective varnish highlights the physical fragility of the paintings.