(Nederlands) Birgitta

Born in Gävle, Sweden on 2 september 1966 and living and working in the Netherlands since 2001. After numerous courses in Sweden from sculptering art and pedagogy the choice was made, itwould be painting and ceramics.

 ”I know I was interested in the expression of the human face at the age of 4.”

For her ceramics Birgittauses a humanlike form, only the head and torso, and with a lot of  expression in the face. People are always in the center of attention  in her paintings. In big realistic paintings she uses expressions to lift the roleplaying from daily life. In 1994 she had her firstsoloexhibition in Luleå in the north of Sweden. After that there were others e.g. Länsmuseum in Stockholm, Bankgirot and at the Väsby  Konsthall.In 2001 she went to the Netherlands and here she has had exhibitions in Velp, Leiden, Rotterdam, Gouda, Utrecht, Aalsmeer, Alkmaar and The Hague.
In the year 2005 also in Gallery van Duyse in Belgium and at the artfair  Lineart in Gand. In the year 2006 she had three exhibitions in Italy.In may of 2007 she had an exhibition in e Marbella in Spain . In december of 2008 she was invited to have a soloexhibition in 2nd Seoul New International Artfair in Seoul in South Korea. In februari 2009 her work is showed in HongKong on HongKong Artshow and in the Affordable Artfair in Brussel, Belgium. Inyear 2010 she had exhibitions in Utrecht, The Hague and Stockholm. In 2011, Birgitta had a solo exhibition at Edsvik Arthall where she showed 40 paintings, a solo exhibition at Galerie Katuin, Granada in Spain, a group exhibition in Amsterdam, participated in Twente Biennale in Hengelo and also exhibits with three paintings on NORDART, Büdelsdorf, Germany. In oktober she participated in BLOOOM in Cologne, Germany.

She works in her own studio in Gouda and in the studio in Nieuwerkerk aan den IJssel. She is a member of Pulchri Studio in the Hague, the Regionale Kunststichting Gouda and of Huddinge Konstnärs Klubb.

 

 

Through a variety of emotions and expressions, lines and patterns of the backgound, the portraits of Birgitta Sundstrom Jansdotter appear as central  to any composition. The figures seem isolated and removed from their original       context, as characters set to play their predefined roles recreating scenes of a predefined theatre. Making an obvious allusion to the movement of  Pop-art, these portraits are taken away from images of the modern culture. Set at each time in different situations, the women looking down from the paintings make a distant referece to the modern way of publicity and advertisement through the use of the female icon, – idealized and beautified. Thereby, the familiar images of popular culture are being translated into  the language of painting.

But unlike pop art, mainly associated with the artists’ use of mechanical means of reproduction or rendering techniques, her images are carefully painted and the motifs of repetition are at each time given some new and exclusive traits. The intriguing and imperfect repetitions are either  mirroring each other, either slightly differ from their original. While color adapts certain physicality allowing the figures to merge into the background and the background to contrast the figures. Through the means of this painterly reduction, Birgitta Sundstrom Jansdotter takes out the depth and profoundness of paint.
However, through the hard-edged compositions, the collage of layers of paint, minimal pattern, and simplified shapes, the eyes gain the most prominent value. Centralized in the painting, they contrast the flatness  of composition and seem to be mirroring the spectator.
Often finding recourse in irony, she approaches subjects of popular culture   and the sometimes banal and mundane elements of life. Missing her native  country, she incorporate parts of the swedish landscape rendered by imagination  and her memories.

Galerie Noordeinde, Den Haag, 2009

 

 


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