Therese Nilsson (SE)
Solfågel
2-18/3
Curator Johan Engqvist (SE)
SE
Therese Nilsson (född 1992 i Urshult) bor och arbetar i Malmö. Hon tog sin kandidatexamen vid konsthögskolan i Umeå 2016. Hennes praktik kretsar kring ett konstant samlande, av ting såväl som situationer, och ett successivt förändrande av det som har samlats. Hennes huvudsakliga medium är teckning och fotografi.
Solfågel
Samlande är en stor del av mitt liv, samla gör jag medvetet, omedvetet och ständigt. När jag samlat tillräckligt länge så står jag med saker på hög. Vissa situationer sparar jag och andra väljer jag bort, precis som saker. Vad är det som avgör? Något som känns skönt i handen eller någonting som väcker varma känslor. Att frysa tiden och minnas det som är värt att samla.
Skala bort allt som inte egentligen behövs. Spara endast det som bär på symbolvärdet. Porslinsfåglarna är funna, skapade av någon. Deras klumpiga kroppar kan aldrig flyga, men det var inte heller meningen. Jag har sparat enbart deras konturer. Formen som de skapar när de solar sig.
Likt ett filter använder jag kameran och printern blir mitt förstoringsglas. Och i teckning alternerar jag minnet som jag vill. Blänken, fläckarna, symbolerna & minnena är mina material och genom att lägga dem ovanpå varandra så framkallar jag samlandets essens. De blir till nya minnen, nya föremål som möter nya situationer och jag låter deras berättelser flyga dit de kan.
- Theresen Nilsson, konstnär
Therese Nilssons konst får lov att ta tid på sig. Hennes metod påminner om en sorts raffineringsprocess där verken dras genom olika medium. Från foto – till teckning – till foto igen och så vidare. Varje steg lämnar spår och märken efter sig. Dessa sparas och framhävs omsorgsfullt. I och med detta läggs ännu ett medium till i hennes praktik; Tid. Therese Nilssons eftertänksamhet är talande, tiden i sig blir till något synligt.
- Johan Engqvist, curator
EN
Therese
Nilsson (born 1992 in Urshult, Sweden) lives and works in Malmö, Sweden. She
got her BA from Umeå Academy of fine arts in 2016. Her practice resolves around
a constant collecting of both objects situations - and successively altering
that which has been collected. Her main mediums are drawing and photography.
Sunbird
Collecting is a big part of my life. I collect knowingly, not knowingly and constantly. When I’ve collected for long enough I’m left with things piled up. Some situations I save, other ones I opt out, just like I do with things. What is the decisive factor? Something that feels nice in my hand or something that stirs emotions. To freeze time and to remember that which is worth collecting.
Cut off everything which is not really necessary. Save only that which carries the symbolic value. The Porcelain birds are found, created by someone. Their clumsy bodies will never fly, but then again, that was never the point. I’ve saved only their contours. The shape they make when they sunbathe. I use the camera as a filter and the printer becomes my magnifier. And through drawing, I alternate memory as I please.
The glares, the spots, the symbols & memories are my materials and by stacking them on top of each other, I induce the very essence of collecting. They become new memories, new objects facing new situations and I allow their stories fly wherever they can.
- Therese Nilsson, artist
Therese Nilssons’ art is allowed to take its time. Her method is reminiscent of a refining process, in which the works are passed through different mediums. From photo – to drawing – back to photo again, and so on. Each step leaves marks and traces. These are carefully saved and brought out. As a result of this, another medium is added to her process; Time. Therese Nilsson’s thoughtfulness is telling, time in it self becomes something visible.
- Johan Engkvist, curator
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Sunbird
Collecting is a big part of my life. I collect knowingly, not knowingly and constantly. When I’ve collected for long enough I’m left with things piled up. Some situations I save, other ones I opt out, just like I do with things. What is the decisive factor? Something that feels nice in my hand or something that stirs emotions. To freeze time and to remember that which is worth collecting.
Cut off everything which is not really necessary. Save only that which carries the symbolic value. The Porcelain birds are found, created by someone. Their clumsy bodies will never fly, but then again, that was never the point. I’ve saved only their contours. The shape they make when they sunbathe. I use the camera as a filter and the printer becomes my magnifier. And through drawing, I alternate memory as I please.
The glares, the spots, the symbols & memories are my materials and by stacking them on top of each other, I induce the very essence of collecting. They become new memories, new objects facing new situations and I allow their stories fly wherever they can.
- Therese Nilsson, artist
Therese Nilssons’ art is allowed to take its time. Her method is reminiscent of a refining process, in which the works are passed through different mediums. From photo – to drawing – back to photo again, and so on. Each step leaves marks and traces. These are carefully saved and brought out. As a result of this, another medium is added to her process; Time. Therese Nilsson’s thoughtfulness is telling, time in it self becomes something visible.
- Johan Engkvist, curator