Julie Nord
Dark Ink
26.11.2010–16.1.2011

Utställningen Dark Ink (Mörk bläck) av den danska konstnären Julie Nord (f. 1970) öppnas för publiken i Åbo konstmuseums Studio den 26 november. Tre stora (188 x 245) papper på den svarta väggen i Studion är fulltecknade. Vid den första anblicken ser det ut att vara dekorativa och känsliga teckningar. De oerhört skickligt tecknade verken är fulla av otaliga detaljer, nya bilder och motiv. Så småningom framkallar verken kalla kårar längs ryggraden. Denna nya dimension visar sig i klänningen i verket Homecoming Queen (Skolfestens drottning, 2010) och i rökmolnet som svävar ovanför staden i The Smoke from the Chimney (Röken från skorstenen, 2010). Det immateriella spöket på den blomstertapetliknande bakgrunden skrämmer den lilla flickan, som har en kanin med upprest päls i famnen.  Munnar och öron tränger in överallt. Handen trycker på avbrytaren. Kaninen skuttar iväg.

Julie Nords teckningar leder betraktaren in i en speciell värld. När be-traktaren är omgiven av verken tycker han att han hoppat in i ett liknande kaninhål som Alice på sina äventyr i underlandet i Lewis Carrolls barnbok (Alice’s Adventures in Wonderland, 1865). Omgivningen ser ut att vara lockande och vacker, men när man betraktar Julie Nords verk noggrannare blir man förvånad. Varför sitter en katt med ett barn i famnen? Den dockliknande flickan håller en sax i handen som hon kan använda till att klippa ut pappersdockan som ligger bredvid henne. Eller har flickan klippt ut sig själv ur papperet?  

Julie Nords bildvärld känns mycket välbekant. Teckningarna är fulla av element från sagor, seriebilder, tatueringar, skräckfilmer och skuggteater. Ändå känns bilderna väldigt främmande, som en ny bekantskap. De ändrar form, precis som bläck. Betraktaren blir förvirrad, det är omöjligt att veta vad som skapas av betraktarens fantasi och vad bilderna egentligen föreställer.  

Även om största delen av Julie Nords verk är väldigt noggrant tecknade, finns det också fria, dystra bläckfläckar på dem. Fläckarna täcker över och rinner ut, men de lockar också till sig och är hotfulla. I verket The Painter (Målaren, 2009) saknas konstnärens huvud. Det enda som återstår är ett tomt bläckmoln. Lever det? Även om betraktaren kan stanna upp och bygga egna berättelser i Julie Nords konstvärld, känns bilderna som snabba glimtar av olika ögonblick. Bilderna verkar ropa ljudlöst, som om ljudet av helikoptern skulle eka inne i betraktarens huvud. Allt är inte som det ser ut.

Julie Nords har gett en del av sina verk på utställningen Dark Ink formen av väggmålningar. Utställningen har fått understöd av Kulturfonden för Finland och Danmark


Konstnärsträff
Torsdag 25.11.2010 berättar Julie Nord på engelska om sitt konstnärliga arbete på Kuvateatteri (Bildteatern) kl. 14 vid Åbo konstakademi (Slottsgatan 54–60). Fritt inträde, alla intresserade är välkomna.

 

TEN QUESTIONS TO THE STUDIO ARTIST JULIE NORD


1. Could you tell how you start planning your art works and how the work proceeds?
It usually starts out with a very loose idea, normally it's not intellectualized at all at this state. It can be a certain relation between two figures, a new way of using the empty white paper in a drawing, or it can be a specific pattern or object I find in a book, and find inspiring. It’s like writ-ing the first line an a novel, without knowing anything about how the book will continue or end. Still this first line is very important for the atmosphere and intensity of rest of the book. I usually start drawing the human figures, and then the picture slowly emerge around them. Since its paper, and I can't undo the drawing, when made with ink, pen or watercolour, it’s a very concentrated process. I use a lot of time just starring, almost meditating, at my drawing, before "attaching" with my pen. It's a constant dialogue between me and the drawing, since the finished work always ends up being very far from the original sketch, meaning that it's also a spontaneous process. I always look at a lot of pictures and photos when I work, to get in-spired.

2. With which themes have you worked for this exhibition?

The concept of the expected versus the unexpected. Pictures of innocence, the romantic idea of childhood (seen from an adult perspective) and the darkness of the mind. The invalidation of the line between reality and illusion.

3. Why are these subjects important to you?

I've always been interested in distortions. I think it's important to keep questioning the common constructions of  reality, to keep an open mind.

4. Have you worked for a long time with these subjects?

Yes, more or less since 1993, but in different ways and medias.

5. Could you tell about the technique you have used for the art works in this exhibition?
I use drawing Ink, felt-tip pens and Posca pens on paper. The walldrawings are made with Posca pen and wallpaint. For the large scale works and the wall drawings, I start out with a very precise sketch, but I always do some improvising on the way, to make it alive and vibrant.

6. Is this technique typical for your working?

I also work with watercolor, which is quite different from the very precise and sharp black and white drawings. Watercolor is a more emotional, soft and spontaneous expression, and the colour takes away the cool, formal distance of the black and white drawings. On the other hand I have a very special relation to the simplicity of the line, and I think drawings are a very honest and almost transcendent  "No-nonsense" media. I like to change between the two techniques and sometimes I mix different media in the same picture. I've also done a very simple animation film, and would like to do some more works including animation. Before, when I was an art student, I've also worked with acrylics on canvas, video and installations.

7. On which aspects have you especially concentrated regarding the preparing of this exhibition?
I wanted it to be a rather cool and graphic exhibition. I also wanted the physical room of the Museum to be drawn in as an active part of the experience of my works, which is why I also make drawings directly on the walls.
I've been choosing works in different scales, from the very large scale to smaller sizes. There is a lot of small details, especially in the large works, and I've been very interested in the variation between the intimate lines and details and a very direct and right in the face expression, inside the same works. You get a very immediate visual experience when you enter the room, after that you can use a lot of time tracking down all the little details and stories inside the works.

8. What does this exhibition at Turku Art Museum mean to you?

It's my first soloshow in Scandinavia, apart from Denmark. I'm curious how my works will bee seen in Finland.

9. Which other art fields are close to you and why?
Movies. I watch a lot of movies. It's about narration and movement, but funny enough I'm almost never able to remember the plot afterwards. I think I see movies as an enormous amount of still-pictures.
In my own work I try to create an atmosphere of "Impending Doom" – of something just about to happen. Often the works are like snapshots  from an imaginary story or movie, loaded with unsolved mystery and frozen suspense.

10. Could you tell about your future plans?

I would like to make some more very large works, it's extremely time consuming to make these works, but I like the combination of the big scale and the ultra fine lines. The intimacy of the drawing becomes so massive in that way.

www.julienord.dk 

Turun taidemuseo, Aurakatu 26, 20100 Turku, Puh. 02 2627 100. © 2014