23 – 27 May 2021
OPENING Friday 22 May at 17h00
GALLERY HOURS : Monday 3 – 8pm, Tuesday – Friday 12 – 8pm, Saturday & Sunday 10am – 8pm
13 Swedish Sculptors Exhibit – Retrospective 1985-2020 | Homage to Ernst Wallin, for the Love of Art
1986 | Curt Asker
1988 | Disa Linderoth
1992 | Gudmar Olovson
1994 | Evert Lindfors
1995 | Maïré Männik
1998 | Torsten Ridell
2003 | Osa Scherdin
2004 | Marc Rizell
2005 | Kerstin Lindståhl
2010 | Maria Svensson
2015 | Monika Meschke
2017 | Eva Bergman
2019 | Charlotte von Poehl
His sculptures celebrate the love and beauty of human emotions.
The classical school and Auguste Rodin brought him to Paris in 1959. The preference for the modernist movement at the Academy of Fine Arts in Stockholm did not interest him.
Rather than in pencil or charcoal, Gudmar prefers to draw in red chalk. The color underlined the fire and the carnal nature of man. His sculptures in movement, sometimes dramatic, express in each muscle pain, violence, falls or captivity. His representations of couples emphasize the carnal side without inhibition. Next to it, there are calmer and more melancholy works such as “les deux Arbres”.
A posthumous tribute was paid to him at the inauguration in 2019 of the “Parc de l’Amour”.
His artistic career as a painter began at the age of sixteen. Arrived in France in 1946, he spent 10 years in Paris where he studied at the Ecole des Beaux-Arts. At the end of the 1950s he moved to the Luberon in Lacoste. From this time on, his paintings were loaded with reliefs, thick layers of color, then he took the step towards sculpture in 1968.
He wants to model in clay the life of the countryside, the daily work of the peasants, their sorrows and their joys captured on the spot. He exhibits his works throughout Europe.
All his life he works on different themes, including that of animals. He composes several Noah’s Arches, two of which are visible in Sweden, Stockholm and Visby.
Other, smaller versions can be found at Lacoste in Les Ateliers Lindfors.
Having grown up in Estonia, Maïré Männik arrived in Sweden during the war and then found himself in Paris in 1952 by pure chance where Edouard Wiiralt introduced her to Ossip Zadkine’s sculpture workshop at the Académie de la Grande Chaumière.
Coming from the classical school with a large register of busts mainly of children, Maïré Männik was already very early inspired by “natural Gothic”. From this inspiration are born installations created from steel bars and plaster with a strange rhythm and movement where the light and heavy shapes sway in the air space that separates them. Their interaction with light becomes a game of freedom and life.
Torsten Ridell paints mainly black and white, and some fundamental shapes, the square, the triangle…. T. Ridell composes here a work dominated by a slight movement, a discreet asymmetry (another characteristic of the artist), which brings breathing and rhythm. It is not a question of striking a hammering, a noisy repetition, but rather of carrying out a beginning of mutation, of tilting: the angles, the geometric planes do not correspond exactly with each other, the vertical or horizontal lines seem get lost, while extending virtually on the wall … two juxtaposed triangles, falsely immobile, make up a figure in a false symmetry, imperceptibly set in motion, the continuation and consequences of which it is up to us to imagine, and thus seem to join the great rhythm of the world. – B. Fauchille
I admit that my relationship with the land is quite special, it is indeed a matter of preference.
Because the earth has a plasticity which cannot be replaced by any other matter.
How many formal adventures does it take? Between the very soft, even the liquid to the hard and once cooked, the very hard, for sure BACHELARD would have understood me, I think of this beautiful poem in prose his essay “the earth or the reverie of the will”.
Open a sphere, separate the secret walls, know the inside of things and their behavior, share in violence… Day and night, a past or an act rather than an image itself… this that, the positive of an act and its negative side, how not to be fascinated by the image and its double, symmetry fascinates me and what will be the dialogue between the two? ” – (about “Admirable Lovers”) – Osa Scherdin
Born in 1960 and raised in Malmö, French mother and father of Dalarna. Originally intended for research in nuclear physics.
I changed management while staying on a kibbutz in 1980, where I became an assistant to a sculptor I met by chance. He worked with marble and I was fascinated by the possibility of combining thought and body.
In 1984 I worked for stone sculptors in Paris, then I acquired my first studio in 1986 in Belleville. Not having gone through art school, I wanted at all costs to succeed in the most difficult work, the face.
Just a few millimeters around the mouth and eyes can completely change the expression. The problem with three-dimensional sculptures is that they compete with all the other three-dimensional things around us; trees, furniture and other objects.
Also begins a period of making reliefs. The relief is halfway between the three-dimensional and the two-dimensional. The paintings are two-dimensional and already an abstraction.
Sculptor originally from Stockholm, she spent a few years in London before arriving in France in 1970.
Her artistic production consists mainly of unique pieces, in patina-ed terracotta. She also works with stone, bronze and resin. /…/
Her works are quickly recognized at the regional level first where she multiplies awards and invitations of honor, then at the national level where in 1983 she is invited to exhibit at the Salon d’Automne, the Salon des Artistes français, the Biennale des Beaux -Arts at the Grand Palais in Paris. /…/
After having held two Parisian sculpture workshops, she devoted herself for 22 years to her workshop in BaIlancourt in Essonne, which was offered to her full-time by the city and allows her to provide lessons to many students, and at the same time to give life to new works.
Maria Svensson clearly defines herself as a sculptor, but landscape drawings, reliefs, installations, brightly colored stained-glass windows and acrylic paintings are also part of her expressions. Her recent brightly colored paintings give the illusion of a curved surface that seems intimately linked to three dimensions. These acrylic paints combine simplicity, intensity and sculptural effect. The patterns appear to come from her pencil studies, reflecting rapidly changing environments.
Born German in Stettin in 1937. Became Swedish after the exhibition of her family in 1939 and Swiss in 1956 by her marriage to the scenographer Ruodi Barth, she has lived in Provence for thirty years.
Attracted by dance and spectacle, She worked very early on with her brother Michael Meschke, director and theater designer … From this experience she retained the respect for materials and techniques, and her interest in the representation of movement. Beginning of her personal production in 1981.
She likes to locate her wives in public places: wash-houses, station halls, churches, canteens, cloisters, hospitals … and exhibits in galleries, in France, Sweden, Switzerland, Germany , Spain, Netherlands …
In Japan she discovers an interest in light materials. His women, human size, carved in polystyrene, covered with glass fabric and resin, will be strong and light.
Movement rather than gesture, concrete rather than realism will be constants, with the challenge of variations on a single theme.
The bet will be to condense the beginning and the end of a movement in a single figure … and that the in-completion is an endless desire.
“Theater” is a key word in Eva Bergman’s life.
Before leaving for Japan in 1967, where she remained for 4 fascinating years, she worked for Sandrews.
Influenced by the spectacular suicide of novelist Mishima Yukio, Eva creates a series of collages considered in retrospect as revolutionary in their feminist consciousness.
The 1972 “Le Tour du Soleil” graphic series will be exhibited first in Tokyo, then Stockholm and Paris. In the 1980s, clay prevailed with bowls, abstract shapes, female figures, and Raku firing. Then came the puppets, the tiny ones and the giants. Eva conceives them, creates them, manipulates them, makes them speak, gives them life – she finds the theater again!
Time, repetition and seriality are at the center of her work.
As a daily activity, she returns to her motifs using ordinary materials and techniques. Taking notes, drawing, modeling are all part of the same practice which is essential to her artistic process. Each work is part of a process in the making and is only a fragment of a larger project.
Swedish artist based in Paris, Charlotte von Poehl has exhibited her work in many international institutions including the Henry Moore Institute in Leeds, the Malmö Konstmuseum, the Turku Art Museum, the Plateau Frac lle-de-France, the Ystads Konstmuseum and the Skissernas Museum – Museum of Artistic Process and Public Art in Lund, Sweden, where she had a solo exhibition in 2017.