"Syntesen mellem maleri og objekt får en foreløbig form med en serie mindre malerier ophængt på en husgavl for at skabe en ny relation mellem maleri og væg.

Med en serie malerier, hvor Skjerning yderligere eksperimenterer med maleriets flade og maleriet som objekt, spændes maleriet ud på en kileform med bemaling på billedets kanter.

 

Men sløjfen er til dags dato en genopdukkende figur, en form for dynamisk metafor på billedet som flade og rum.

 

Billedserierne bliver konkret til skulptur, i det øjeblik hvor kunstneren ser en mulighed i, at de faktisk også fungerer som stablede objekter. Et foreløbigt eksempel på Skjernings forsøg på at etablere en syntese mellem maleri og skulptur"

Tekst: Ann Lumbye Sørensen

The synthesis between painting and object comes to acquire a provisional resolution with a series of smaller paintings hung on a gable in order to create a new relation between painting and wall.

With a series of paintings where Skjerning is experimenting further with the painting's surface and with the painting as object, the painting is stretched over a wedge-form, with paint applied on the picture’s edges.

But still today, the ribbon is a re-emerging figure, standing as a kind of dynamic metaphor for the picture as surface and space.

The picture series is concretely transformed into sculpture in the moment when the artist spots an opportunity and suddenly apprehends that, as a matter of fact, the pictures can also function as stackable objects: here we have a case example of Skjerning’s attempts at establishing a synthesis between painting and sculpture.

 

Tekst: Ann Lumbye Sørensen

Translation: Dan Marmorstein