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Adrianna Gilicka (Data: 2013-02-09 11:04:38)

Ulf Onsberg (born in 1932, Kalmar, Sweden). The thing about selected works created between 1970-1980.


The first associations that I have - during the overview - about the works from the 70s and 80s , let me recognize in a several, simple sentences. Devoid of the human element, but not alienated. Touching the most sensitive places on the soul of the artist. Created over the different seasons. Happening right next to the artist. Permeated with an asceticism, peace and a profound reflection. They are like - cut in a subtle way - fragments of biography, or otherwise complementary it, illustrations. The artist reveals in them his mood, and experience of the specific moments by using the technique, which is his individual achievement.

The artist (source: www.onsberg.se)

The silence, focus and tamed moods will be the subject of this article, which is the open cycle. Personal and well-known, may not only to the artist, do not have to and does not mean, the trivial or banal.

Tamed, but not familiar objects, Onsberg presented in such a way that the potential viewer perceives and feels himself, through the gaze, sometimes astonishing, sometimes completely new.

Identifying with the mood, maybe nostalgic, we do not need to have the identical practice of space experienced by the Onsberg, because "twice nothing happens" (Wisława Szymborska), but the artist teaches us his style, the way of noticing in out of the ordinary, what may be in a hurry, we omit. The works, which have still defined dimensions, really go out of its way.

Tasting Onsberg's, landscapes and spaces, we are expanding our comfort zone associated with our current existence. We discover that our senses sometimes hungry, they can feed on the individual perception of the environment created by Onsberga. Landscapes - what it should be strongly noted - for the most part, impersonal, but it does not mean that they are devoid of personality. The artist was not necessarily the one who left a trace, left its unique fingerprint on them, but he stopped a moment, which exploded in him and which the splinters went to our perception.

Frequently in fact, not having any knowledge of art, remains for us to respond, to respond to just this type of splinters, specific residues after the outbreak of works of art, works of art. The question is whether it is better to be prepared, or not, to overview of the art, I will leave it now open. Onsberg's frames evoke the universalism, which makes their message is unlimited in time and space. The sensitivity exceeds here beyond the frame, temporal and artistic.

I did not - intentionally - want to call these works, photorealistic, or even refer to this genre, as it did among others Claus Bojesen in an otherwise excellent editorially book titled, Onsberg. However, some of the most interesting works from the period in question, are those that could derive its origin from analogue photography.

In works such as: Window reflection (Fönsterspegling, 1979), A try at cubism (Försök till Kubism, 1978), Escape from reality (Verklighetsflykt, 1980), or finally a brilliant Inside the inside of me (Innerst inne i mig, 1980), we see as if, intentional overlapping frames. Repeated exposition one and the same photographic film, as is happening in our lives whenwith the new baggage of experience, impressions, etc. we visit and read the previously known space.

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