Who is not a fool – who is free from melancholy? / Robert Burton (The Anatomy of Melancholy, 1621).
The look that drills in. Hunger, dazzle and destroy. Loss and longing. Gaping holes and mud. The movement of the hand and the gaze across the canvas in search of the speech, the materiality of the color. The journey. An immersion in sensations, ideas and fantasies. Time and space.
In an interest in color, its physical, meaning-bearing expression, I examine the psyche, the flesh – the body, the disgusting, the alluring and nervous fever.
I seek and lose myself in material, process, power and scale. I am driven by examining the immediate knowledge – the answer to my associations, thoughts and impulses that are embodied in the interaction between hand, thought and canvas. The conscious and the unconscious. With connection to nature and the physical imprint of the body, the intuitive backbone is the interaction between chaos and control.
In her work with the exhibition, Christina Ekstrand has drawn ideas and inspiration from psychoanalysis, for example, Julia Kristeva’s essay on melancholy and depression, whose title also was named for the exhibition “Soleil Noir” and from Christoffer Bolla’s concept “The Unthought Known”. He uses the term to describe the knowledge that is stored in the body we are not aware of. Which also can be expressed in the creative process. This interests C. E and she uses it as a force in dialogue between herself, the painting and the viewer.
”How can we name the unimaginable? How do we transfer our feelings and operational experiences to a language / painting?”
Other literary inspirations include impressions and adaptations from poetic texts by, among others, Ann Jäderlund, E A Poe, and Bachelard, which also link to her previous exhibition “Calender” in the gallery, 2016.
In Christina Ekstrand’s painting you can find references of individual parts, details, and color compositions from older art historical eras. The subtle brilliant dye scheme from the early Renaissance. Drama and excesses inspired from Baroque. The dazzling light and blackness from the romance era. And the tactile physicality as in the abstract expressionism.
During the spring of 2019, she exhibit The Unthought Known, at the gallery Hammarén, Gothenburg. 2018 she participate in the group show The Painter at Strandverket in Marstrand. During 2017-2018, she was awarded a 2-year work scholarship from the Artists’ Committee. It will now be the third time She exhibit at S.P.G.