A general description of the medias used in the paintings:
Many of the paintings have appeared within, like glowing pictures, combined with strings of intellectual explanations attached, and connected to other fenomenas of the inner worlds. It has felt like a gift given, to be shared, and often there has been a rather direct perception of the techniques to use as well. It has been surrounded by an atmosphere of great brightness, and joy, with some few exceptions, when glasses brake and so forth (smile). I had little knowledge of the specifics of painting medias before starting with this work in late November 1999, thus I have to thank Life and our invisible friends for all the help, as well as the competent staff of different Art Stores in Sweden. I also had great help of the many books I have been guided to study parallell to painting.
I have felt inspired to use the finest medias and pigments available. When it comes to the gouaches, I solely use Winsor & Newton's Designer's Gouache. In the symbolic paintings, I have used the primary red, yellow and blue, together with brilliant green, marigold orange, ivory black and zinc white, and gold and silver imitation. When it comes to the acrylics, I have used Becker's very stringent colours to the universal symbolic paintings, since they are of that very high quality of sameness, no matter if you buy the colour today, or in five years. This goes well with the expression of the eternal laws. I have tried to find similar energies in the medias, as to the principles the paintings express. To some paintings I have used W & N, as well as Daley-Rowney's acrylics. The pastels mainly come from W & N, but are supplemented with Daley-Rowney, as well as Rembrandt, in order to achieve the different nuances. I solely, with very few exceptions, use colours with high permanence. I have also started to experiment with a most promising colour called Chroma Colour. I feel very attracted to colours with bright and clear pigmentation, and feel that that better convey the notions involved in this work.
As mentioned before, I have used only acid free papers and paper boards, and acid free mounting materials, as glues and tapes.
Here follows an basic description of the various medias used in the paintings. It does not include an explaination to the symbolic paintings.
Acrylics and goauche, on 1200 grams acid free conservation paper board. The unity of the violet and the large area of gold is further enhanced by interference medium in the violet colour. The gold is Cryla's rich gold. The white area is an application, done with white and gold goauche, on 400 grams acid free paper board. The frame is a black composite frame, and the painting is protected by glass.
Goauche and acrylics, on Indian handmade cotton paper. The paper is mounted on a 5 mm kappa board + an acid free 400 grams board, in order to protect the paper. Only acid free materials are used when mounting the paintings. The background is a lovely violet, mixed from 5 different colours of acrylics, that are rolled on a MDF-board. The frame is a composite frame, in black, covered with a layer of finger gold. It includes glass and a 5 mm gold distance, in between the glass and the board. I have used a acrylic pearlescent medium on the paper, that gives a wonderful shine to the white and slightly grey areas, and a interesting contrast to the opaque surface of Winsor & Newton's Designer's Gouache.
The golden circles on the two sides of black, are painted on a thin Japanese rice paper, and then carefully glued onto the black background, with a spray glue from 3M. The black colour used is an acrylic colour, from Winsor & Newton, with iron oxide, to enhance the principle od darkness, since ivory black is much more alive. The white is zinc white goauche, and the coloured ribbons, expressing the basic energies, are also painted with goauche colours. The three sections, the two blacks and the white, are applicated on top of a acid free board, as they are painted on an acid free paper board. This gives a difference in levels, in between the wonderful violet, mixed with coarse interference gold, also an acrylic, and the white/black. Two thin lines of gold is glued next to the black areas, to signify the wonders of darkness. It is framed by a gold composite frame, and protected by glass as well.
They are painted on a thicker Canson Monteval 270 g aquarelle paper, and mounted on a cobalt blue hue acrylic background. The symbolic paintings themselves are made with gouache colours. They are framed by glass and a thin, metallic frame from Jensen. The lovely, clear colours come from Winsor & Newton's Designer's Goauches, and I use, to my various symbolic paintings, their primary yellow, blue and red, brilliant green and marigold orange, that has a warm hue, ivory black for its aliveness, zinc white for its warmth, and imitation gold, for its rich lustre. At times I have used flower remedies in the water as well, to further the vibrational aspects.
Se Basic Icons for description, with the exception of being painted on Dekorima's Aquarelle paper, 240 g.
Here we find a similar technique as with The Eternal I, with the white application, as well as the coloured lines applicated, and glued on top of a golden and violet background. The pyramide shape, as well as the various coloured lines are cut in acid free paper board, and glued on top of the acrylic painted acid free board, 1200 grams acid free conservation board. Similar to The Eternal I, we (me and the angels :) have used interference gold in the dioxazine violet acrylic colour. I used a water based gloss varnish to further the colours on the applications, with the exception of the white field, signifying The Eternal I, where the opaqueness forms a contasting field. It will be framed with glass.
Here we find the two circles painted on Japanese thin, fine rice paper, and then gently glued, with no traces of glue, on top of two acid free boards, with rolled on blue and antique golden acrylics. It is framed with a blue wooden frame, covered with finger gold, so that the gold and the blue sing together. It is protected by glass.
This beautiful prayer came in an inner vision, very strongly, like with many of the symbolic paintings, and it expresses something very deeply and extraordinary profound to me. It was shining forth in blue and in gold, so I was inspired to use used gold gouache, on top of rice paper, and then applied that with one of 3M's excellent spray glues, on top of a 400 grams acid free board, where cobalt blue acrylic had been rolled on. Then we applied the four pictures on top of another acid free board, this time 1200 grams, with rolled on antique acrylic gold. There is a marvellous lustre to the two different shades of gold, in the thin minimalistic lines, all painted on free hand, and the antique gold. The cobalt blue shines forth, and expresses the wonders of otherness. The two paintings, 60 by 80, are framed with a thin black metalic frame, and glass, from Jensen.
With Sacred Space we have used the same technique as with Basic Icons, with the difference that the blue field it is mounted on is Two Mi Teinte papers, mounted on top of acid free paper board, painted in yellow, with a waterbased handicraft colour, in gold.
The wooden frame is from a plantation in the tropics, and there is a distance in between the glass and the background, created by wood distances, painted in gold. Thus it gives the impression of greater depth.
This painting came with a smile, when writing poetry about Man in Gold, a celebration to The Christ Consciousness. It is performed in gouache, on Dekorima's aquarelle paper, and monted on top of a blue Mi Teinte paper, surrounded with a thin gold paper. The frame held a painting I did around 1985, and it has been renovated by me. It is a rather old frame, thus a lovely contrast is achieved. The glass and the back board holds a distance, created by golden wood distances.
This rather large painting is painted on a MDF-board, that has been primed twice, with W & N's Galeria gesso primer. THe colours are Becker's Bright yellow, Bright red, Becker's blue, Phtalo Green lightened up with some white, Becker's violet, Titanium White, Ivory Black, and D-R's Cryla Rich Gold. It is varnished with glossy varnish twice. Becker's acrylics feels like the right choice becuase of the great precision involved to get the exact colours year after year.
With this painting I was inspired to use Chroma Colour, with the exception of the black, gold and white. This painting is also varnished, and made on an MDF-board. See above as well. It is framed by a most beautiful Borås frame, in slightly brushed gold.
This beautiful minimalistic painting, is painted on handmade Indian cotton paper, with a mixture of acrylic pearlescent medium, and goauches. The white areas reflect the light in a most uplifting manner. The three paintings are mounted on top of a 5 mm kappa board, that gives a distance top the background, in a delightful deep crimson acrylic colour, rolled on, and then glaced with several layers of quinacridone pink, including gloss medium. In the sunlight it gives a very interesting surface. It is framed by a very beautiful Jensen frame, in gold, and carries a glass, and wooden distances, in between the glass and the back board, that gives depth.
See Basic Icons for further information. Painted on Dekorima's Aquarelle paper, 240 g.
The Earth and Humankind:
See Basic Icons for further information, with the difference that the four symbolic paintings are mounted on a crimson red acrylic colour. Painted on Dekorim's Aquarelle paper.
The four symbolic paintings, see Basic Icons for further information. Painted on Dekorima's Aquarelle paper, and mounted on Mi Teinte paper, surrounded with gold, sprayed on a acid free board.
The red one is painted on a handmade Indian cotton paper, while the yellow and the blue are painted on Canson Monteval Aquarell paper. I have used Winsor& Newtons excellent primary red, yellow and blue, from the Designer's Gouache. The paintings are mounted on acid free paper, and the frames vary. The red icon has a golden frame, the yellow a wooden, with a gold distance, and the blue one comes in a white frame. The all carry glass.
All of the dry pastels, are basically performed with Winsor & Newtons dry pastels, supplemented with hues from Daley-Rowney; oh what a lovely Cobalt blue, in tint 6, and Rembrandt. They are done on Mi teinte papers, in different colours. The glow of the pigments does not do the paintings full justice; they shine forth. They are all mounted on top of 5 mm kappa board, hanging in space, over acrylic rolled backgrounds. They are all protected by glass, and the frames accompany the pastels, in glowing colours. I have in most of the cases used a simple wooden frame, high enough to find the space for the wood distance, laid in between glass and back board. They have been dyed with either chroma colours or acrylics, occasionally there is finger gold on them and in some cases they are varnished.
This triptyc is also done on Mi Teinte paper, and the first two are framed in a wooden frame, 125 by 86, painted in a lovely cobalt blue colour. They are mounted on a 5 mm kappa board, and there is a wooden distance, in gold, in between the glas and the back board. The MDF board they are mounted on, is primed and then painted with an ultramarine acrylic, mixed with some gloss medium. The actual pictures are performed with dry pastels, and then there is the golden colour, from Designer´s Gouache.
The third picture is framed by the same wooden frame, and the size is 85 by 68 cm. There is a lovely play of different shades of blue, and the cream on top of this is the cobalt blue frame.
This landscape is painted with W & N's calligraphy inks, and goauches, like the gold. It is mounted on top of coloured paper.