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A small selection of previous works are shown here, meanwhile an archive is in construction. It willl be able to search public works, work materials, year of manufacture, etc.

Three Lost Conquistadors Meet Mayapatinated and painted bronze, aluminum, wood, neon, 206,7 x 220 x 40 cm, 2003 - 2006

 

Only a few minutes remain before the museum closes, so I ask Eva to wait while I go back in.

The mask museum in Zacatecas in Mexico has around 10 000 masks in its collections. Though some

3000 are displayed magnificently, I rush by them all on my way back through the meandering halls.

The masks grimace, smile and laugh. They sneer at me. The zombies chatter with their empty

mandibles, snakes rattle, crocodiles gape.

 

And so I find the small clay figures again. Conquistadors modelled in one piece as the aborigines saw

them – rider and horse in one, a monstrous war machine.

As I rush to sketch them I’m not copying, I’m interpreting.

 

Once back with the wonderful Eva in the lovely museum garden, I’m surprised as I flip in my sketchbook.

Before me I see the sculpture group I will build up and cast in bronze during the year to come.

Three Lost Conquistadors Meet Maya.

 

Text to catalogue for the show at MAR'S Gallery of Contemporary Art, Moscow 2006

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Tricket - The Trick! patinated and bronze, golden leafs, 2/5 100x125 cm, 2005, Herman Bergman foundry, Stockholm

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Germany and Ossietzky, painted relief in oak wood, 140x115 cm, 1992-93.  Collection of: Museum für Hamburgische Geschichte, exposed in Carl von Ossietzkysalen, Staats- und Universitätsbibliothek Hamburg

The relief Germany and Ossietzky was carved for an exhibition at Notre Dame des Monts in France in 1993. The work was accompanied by a brief text. News reports along the Atlantic coast spread information about the relief’s existence. Word reached as far as Hamburg, Carl von Ossietzky’s home town. Money was raised, and the relief was purchased and donated to the Museum für Hamburgische Geschichte (Museum for Hamburg History). The Mayor of Hamburg presented it to the city library, where it now hangs in the Carl von Ossietzky Room. The relief was lent to the Kulturhuset cultural centre in Stockholm in 2000, where it was exhibited as part of "Fire" (Det Brinner!).

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Confidence or Betrayal, painted reliefs in oak wood (diptyk), 164x67 cm, 164x75 cm, 1995

 

The Dialysis Case, painted relief in oakwood, (triptyk), 1991, 200x132 cm. Collection of The Swedish Association of Health Professionals SAHP 
 
 
Changing Stars, painted relief in oakwood, (triptyk), 1990 - 1994, 200x152 cm
 
“The radio was on. I was carving. The Berlin Wall had fallen... Lots of people were waxing lyrical about ‘the Market’ and ‘Europe’.
First the Ebbe Carlsson affair, then Changing Stars. A kind of market picture – a picture of the Market... Two men exchanging stars. Maybe one of them was a STASI informer... Who knows?...”
Catalogue text for “Ladies and Gentlemen...” 141:an, Gothenburg 1996
The relief was carved for the EU-critical exhibition “Bara Brysselkål”, Frölunda Kulturhus, Sweden, 1980

 

 

Mr K - A Story of Passion (The Accusation Suite), relief in oak, 4x144x91 cm, 1999

1. The Accusation, 2. The Appeal, 3. An Exemplary Action, 4. Like A Dog!

"Mr K - A Story of Passion is a suite of four oak reliefs produced over a period of four years and exhibited in Paris in March 1989, can today be found in Göteborg. In the new version, ‘The Accusation 1–4’ from 1999, the victim is under attack from mechanical and masked judges who protect themselves with shields in the shape of paragraphs.

These works tell the story of a man who was fined for a parking offence even though he did not own a car. Trapped in a mixture of red tape and judicial harassment, the man has to fight alone to prove his good faith – yet he ends up a victim, convicted and sentenced.
A tribute to Kafka, this story is an allegory of the indiscriminate workings of the administrative and judicial systems, and is illustrated in the bas-reliefs which take the classic form of a Descent from the Cross with the main character as the centrepiece. But to understand their message fully, they have to be looked at both as a whole and in their myriad details, reminding us of the ceaseless bustle typical of the surrealist paintings of Hieronymus Bosch."

By Laure Barbizet-Namer
- assistant curator in charge of the painting and print department at Musée d'histoire Contemporaine, (the Museum of Contemporary History), Paris

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