Det fanns mycket att säga men det låg oartikulerat och skavde.
Det blev till stilla liv. Stilla ben. Stiliga ben.
Ögon fulla; av bananskal, tvivel.
Dadaisten drar en enhörning ur sin hatt.
Stenen är inte en sten, öppnar sig och stänger sig.
Små och stora landskap ställer upp sig och poserar.
Tableau Vivant by Lisa Stålspets is a constellation of images and objects, an asseblage that forms an open narrative and an investigation of existential questions. Some motifs are repeated serveral times in the exhibition; a stone, a piece of bark. At times in a very figurative manner but also in abstract forms where they can be associated with other things. Could it be skin, an old text fragment or part of a landscape? The eye sees what remains unsaid.
KONSTNÄRSHEMMET / A HOME FOR ARTISTS
RAM Galleri, Oslo 2016
LevArt, Levanger 2012-2016
Konstnärshemmet (A Home for Artists) takes as its starting point an artist novel about a nursing home for elderly artists.This novel serves as a framework or a narrative starting point for works in techniques such as paintings, sculptures, drawings and objects.
Along with producing texts, Stålspets works with painting, sculpture, drawing and objects. While the text is a realistic description of how a nursing home could be organised, the other works in the exhibition use a surreal and expressive pictorial idiom.
The pieces of Lisa Stålspets' exhibition Abandon Yourself to What You See slip through our minds like the discarded relics of a forgotten and fragmented story. There is a shortage of solid signs here, we lack pegs on which to hang our cultured expertize; after all we are the chattering classes of the metropolis, not the silent beasts of the forest. It is not our world, why would we be conversant with it? And then we come across a solid instruction, a drawing in amongst these strange signifiers of another realm. It reads `Don't Interrupt! I'm Thinking`. At last, we think, a window into the mind of the artist, a clue, and a critical, cultured one at that – our language. On second thoughts, though, perhaps it is telling us to back off – it certainly seems rather aggressive.
Much art keeps us at a distance in this way. It is complete, the thoughts of the artist rounded, their vision or skill now dry and immutable, we must accept it for what it is. How then, might we abandon ourselves to what we see?
There is a fiction that nature is silent. There is another that it roars. Silent Fiction, an exhibition of drawings, paintings and installation sculpture by Lisa Stålspets plays with the idea that nature is not so much mute as muted by us, and if it has a voice, it is voiced by us.
Nature does have a roar, beside its creak and murmur and song, but this is its own sound, its own factuality that we rarely hear. Its `silence` is sound on another wavelength and what it might be saying, its narrative, is often beyond or outside of language.
The image of nature has traditionally been in a contrast ratio to civilization. Mans image of nature through different epochs, is in itself a clear image of the culture the paintings are created in.
The video 'Follow you into the dark' (2010), guides the viewer through a dark tunnel. A monologue of various dreams accompanies the viewer on this dark tour.
10 oil paintings depict psychologically symbolic landscapes. A sculpture of two eyes contain a forest and a sky.
A Home for Artists is an artist novel that is organized in three parts that were written and published over the course of four years. It recounts the struggle of young artists to make ends meet, set amidst the brightness and gloom of a care home exclusively for ageing artists. Using fiction as an example of how we could take care of our elders, the text reflects upon issues concerning identity and work. This novel is the basis of a larger art project and serves as a framework or a narrative starting point for works in techniques such as paintings, sculptures, drawings and objects.
IN EACH SIGN SLEEPS A MONSTER- artist book of posters is an artist book imitating a filled up drawing pad in A3 format. The drawings that make the prints were made between 2005 and 2014 and were chosen with diversity of theme and drawing method in mind.
The book is made with every sheet of paper perforated at the top so the images can easily be removed without damaging the book. As suggested in the title one is invited to use the reproduced drawings as posters.
The norwegian poet Marte Huke was invited to write an introductory poem to the book. The poem was placed on a loose sheet between the cover and the first page.
© Copyright Lisa Stålspets 2017.