Art

Kristina Jansson, Paintings for People in Trouble text Sandra Myhrberg Where does the image end, and where does painting’s ability to tell what the image cannot begin? This question has always been central to Kristina Jansson’s practice. Her exhibition Paintings for People in Trouble, her fourth solo show at Andréhn-Schiptjenko, is as much a reflection on contemporary society as it is an invitation for the viewer to engage with this inquiry. Without offering definitive answers, Jansson’s paintings—laden with references and charged imagery—guide the viewer into a space where the (im)possibility of dialogue, the fleeting nature of existence, and unstable environments invite a deeply personal reading of our times. When did you first realize that art would play a significant role in your life?Slowly. Growing up in the countryside on a farm, art was not part of the daily life. I would say it was a slow parallel insight that I needed to find spaces and places for a dimension in me that I couldn’t find where I was. After finishing a degree in chemistry, I lived to the States for a year. Coming back to Sweden I moved to Stockholm and started to find a path towards art educations and forming a new identity. You’ve lived and studied abroad. How have these experiences shaped you personally and artistically?At the time when I first left for the US for a year there was no digital infrastructure what so ever, it really gave me a sense of autonomy and freedom. This has stayed with me when living, studying and working with art in other countries. When I got accepted to the academy in Vienna everything was really old school analogue and I had no-one there to help or guide in anything. Strangely enough it really gave me a sort of mandate to pursue and work with the things I really was interested in, I had no-one to answer to, I was the strange Swedish girl, so the Austrian heritage didn’t become me either. I think that experience was important, to feel self sufficient and independent is good for the work and the artistic development, especially during that period of life. I think it really inspired me to take whatever opportunity I got to try and repeat that, so I  also worked in Rotterdam for a period, studied at École des Beaux-Arts in Paris and later on worked there for a year on a French scholarship. Where does your exploration of the boundary between image and painting begin? How do you define what painting can express that the image cannot?I was very early aware of the discrepancy between the photo and the reality even though I had no words to define it. Susan Sontag has written about it, and so has (Jaques)Lacan and (Roland)Barthes,in his way. We live today in a world almost violently reflected through technical images, some more obviously fictive than others. I believe it’s very hard to understand to what extent this twarts our perception of the world, ourselves and who we are. It sounds really big but making paintings is for me a way of processing the state of the world the way it sort of hits me, through a kind of ”bastard” image that is not smooth and “swipeable”. Something that creates friction and another challenge to the viewer.To answer your question, I do believe that the painting offers a completely different kind of visual relationship with the viewer. Your paintings often contain loaded references. How do you choose these motifs, and what role do they play in guiding the viewer’s interpretation?I always try to make paintings that ”functions/works” in their own right, but their origins are the engine for me to make them at all. I could never make something for the plain esthetics of it, they are too tough to produce, I have to be really attached to their subject matter to manage that process. I am interested in the basic human drives, vices and desires, how they materialize. Working for all these years I see that I constantly try to process different aspects of them in imagery, ofter with popular references in combination with different painterly strategies.  I have learned to trust this weird selection system that has guided the choices of what and how to work. Sometimes I feel like the servant of the painting, that it is the work that dictates for how to ”perform them”. It’s only in retrospective that I can really see that the works has a lot to do with the state of the world and myself, my feeling of being hostage in a very cynical and dangerous time is something very present. For the viewer I never hide their origin but I do think that a piece also have the right to autonomy. I trust that they will do their job in one way or the other without me constantly explaining or talking about them from my perspective. Paintings for People in Trouble is described as a reflection on contemporary society. What specific aspects of today’s world influenced this body of work?This particular body of work consists of paintings with environmental subject matters, On human struggles with courage, cowardice and art. Very broad but I see it perhaps as they touch upon the clash between the human world and the “real” world. We make a very big deal of ourselves instead of looking at ourselves as a spices among other spices. To me a lot of what happens in the world are repercussions on our unwillingness to rethink our place and mandate in the world as such. How has your role as a professor of painting at the Royal Institute of Art influenced your own practice? Do you find teaching inspires new perspectives in your work?To me the teaching part is a constantly evolving practice. The students I meet are young and more unexperienced than me but they sort of inhabit something that is unattainable for me, their particular ”zeitgeist” if you will. I find this extremely

Lie Fallow an Exhibition by Dimen Hama Abdulla text Sandra Myhrberg Dimen Hama Abdulla, a multifaceted artist whose work spans playwriting, dramaturgy, painting, and sculpture. Born in Kurdistan in 1984, she arrived in Sweden at the age of six, carrying the weight of migration and the responsibility to tell her story. Her debut monologue, On All Fours, received critical acclaim, marking the beginning of a prolific career in theater. Yet, behind the scenes, Dimen’s visual art remained a deeply personal practice—until now. With her latest exhibition, Resting Fallow, she invites us into a world where words and images intertwine, exploring themes of survival, restoration, and creative renewal. In this conversation, we delve into her artistic journey, the symbolism behind her latest works, and the dialogue between her visual and literary expressions. What inspired the title Lie Fallow for your exhibition?“Lie fallow” is a concept in farming related to letting the soil rest and allowing hidden “things” to process. Lie fallow, besides being a very beautiful and poetic phrase, carries the meaning of being in fruitful solitude. How does the concept of “Fallow” connect to your personal and artistic journey?To Lie Fallow is a cyclic process of dying, being, and blossoming. For me, it’s a story of becoming. Your works often merge the abstract with the figurative. How do you navigate these two realms in your art?It’s a process about being responsive to the intuitive and the intentional. The “navigating” is a practice of listening to what is happening in the work. How has your relationship with visual art evolved over the years?I’ve always had a relationship with visual art, since the first time I saw my first cartoon. Then I started to draw—as every child does—but I continued and never stopped. What role do materials play in your creative process?A significant one; for me, a painting is a sensory practice. The materiality is part of the joy and pleasure— the fabric of the paper, the pigments of the color, the density and softness of pastels. Your work often reflects themes of survival and migration. How do these experiences influence your visual art?I wouldn’t say that my work often has themes of survival and migration; rather, these are part of my history and what has formed me. I don’t want to set a theme for my work. I think language sometimes pins art, and even if it’s alluring to define it through language, I don’t want that. For me, it’s more that “things” are encapsulated in the pictures, but the paintings themselves aren’t meant to be read as a theme of migration and survival. You’ve worked across multiple artistic disciplines—writing, dramaturgy, and visual art. How do these practices complement each other?One is the discipline of the hand, one of the heart, and one of the head. What’s next for you after Lie Fallow? Are there any new projects or collaborations in the works?I am very happy to be the external examiner for the artist Jaana-Kristin Alakoski in two weeks. I am working on a theatre play for Stockholm Stadsteater, and I am teaching at Biskops-Arnö. I want to put some love and focus into these and create peace and space to return to painting. Dimen Hama Abdulla / Saskia Neuman GalleryLie FallowOn view 07.11—19.12.2024

Orchestrated Characters: Raghav Babbar’s Solo Exhibition at Larsen Warner Gallery text Natalia Muntean Stockholm’s Larsen Warner Gallery presents Orchestrated Characters, a solo exhibition by British Indian painter Raghav Babbar, an emerging talent in contemporary art. Babbar’s work captures ordinary people and everyday moments with a depth that invites the viewer to pause and reflect. “He works on several paintings at the same time,” explains Darren Warner, curator of the show and director of Larsen Warner Gallery. “This is partly due to the heavy layers and detailed strokes that require drying time, but also because he needs time to reflect on his subjects, capturing their emotional depth and intricacies.” Drawing inspiration from films, personal photographs, and memories, Babbar’s paintings explore common yet often overlooked moments in life, while conveying emotion through rich, textured layers of oil paint. With a technique reminiscent of Lucian Freud, Babbar uses thick layers to capture expressions, creating intimate portraits that draw viewers into each character’s psychology. Orchestrated Characters represents Babbar’s first solo show in Stockholm and is notable for including his works on paper, with six displayed publicly for the first time. These pieces reveal his process and approach to building his paintings, as each figure gradually emerges from washes of oil paint and turpentine. Usually a private part of his process, these paper works allow him to explore ideas before he transfers them to canvas. Each painting in the exhibition reflects both Babbar’s Indian heritage and his life in London, where he now resides. Through this body of work, he tells stories of Indian spirituality, legends, and the scenery of North India where he grew up, bridging cultural elements from India and the West through his impeccable technique. Warner notes that Babbar enjoys creating portraits and self-portraits, a passion evident in this exhibition. Using light, shadow, and meticulous brushwork, Babbar conveys the essence of his subjects with sensitivity and empathy. Orchestrated Characters is on display at Larsen Warner Gallery until the 15th of December. Photos courtesy of Larsen Warner Gallery, portrait by Dan Weill, courtesy of Nahmad Projects  

Ann-Sofie Back Is Back (With a Retrospective) text Natalia Muntean “I needed to make some sort of summary of my work in order to say goodbye and live again,” Ann-Sofie Back says, looking back at her career. Considered one of Sweden’s most influential fashion designers, Ann-Sofie Back is reflecting on her journey in Go As You Please – Ann-Sofie Back, a new exhibition at Stockholm’s Liljevalchs+ Museum, covering her work from 1998 to 2018. “Nicole Walker, my co-curator, and I have intentionally designed the exhibition to be as incohesive as possible,” Back explains. “We needed to make it exciting for us to put the exhibition together and a straight-up retrospective would have bored me to work on.” Accompanying the exhibition is a comprehensive monograph of the same name, which includes a wealth of visuals showcasing Back’s collections, runway presentations, lookbooks, styling projects, exhibitions, and media coverage. It also features interviews, articles, and writings by Back herself. “The book represents the linear development of my esthetic,” says the designer, “and the exhibition is more of a spontaneous interpretation.” The book, an extensive overview of Ann-Sofie Back’s vast archive, includes re-published texts by Lauren Cochrane, Anders Edström, Francesca Granata, Ulrich Lehmann, Maria Ben Saad and Mathilda Tham, as well as images by photographers such as Richard Prince, Johnny Dufort, Anders Edström, Nick Knight, David Sims, Juergen Teller and Harley Weir. “I chose these writers because they often revealed perspectives on my work that I hadn’t considered,” says Back. Reflecting on the 1999 shoot with Juergen Teller, she recalls, “I expected things like that to happen back then, but now, looking back, I’m almost embarrassed by my younger self.” The sketches and creative processes behind her pieces are what she is most excited for readers to discover in the monograph, but she regrets not including her portfolio from St. Martin’s, where she graduated in 1998. “It was so good! I just found it in a box in my storage,” she adds. “It would have also been fun to include all the absurd incidents from that time and the fun we had.” Over the years, her collections have challenged conventions of femininity, beauty, and glamour. Reflecting on her evolution, Back says she’s come full circle: “I’m back where I started—in 1998.” And her advice for young designers hoping to make an impact? “I don’t give advice,” she says straightforwardly. Whether Back will return to fashion remains open-ended. “I don’t know. Anders Edström and I did a shoot for the exhibition, revisiting my old designs with non-models in the suburb where I grew up. We agreed it would be our last shoot—but then I saw the Sugababes are touring again, so who knows?” For now, Back is designing interior objects under the name Gnilmyd Kcab. The monograph will be launched on November 7 at Liljevalchs, and the exhibition will be available from November 8, 2024, to February 23, 2025. Photo credit: @annsofie_back_archive and courtesy of Liljevalchs Museum

Money on the Wall: Andy Warhol – A New Exhibition at Spritmuseum text Natalia Muntean “I like money on the wall. Say you were going to buy a 200 000 painting. I think you should take that money, tie it up and hang it on the wall,” said Andy Warhol in 1975. The new exhibition “Money on the Wall: Andy Warhol,” at Spritmuseum in the heart of Stockholm, examines the concept of Business Art—“the step that follows art,” as Warhol advocated. Curated by Blake Gopnik, art critic and one of the world’s most well-known experts on Warhol, the exhibition focuses on Warhol as a pioneer of the Business Art current, showcasing how he turned the processes of buying and selling into a crucial element of his artistic practice. In the 1950s, Andy Warhol thrived in commercial culture, creating ads and earning well. In the 1960s, he shifted to the uncertain life of an artist, focusing on mass consumption and declaring his commercial activities as art. Instead of simply depicting commerce, Warhol engaged in it directly, producing wallpaper, directing commercials, and even renting out friends as part of his Business Art concept. “Some say Andy Warhol was a sell-out. They are right: selling out was one of his most influential art forms,” says Gopnik. The exhibition showcases Warhol’s work as a commercial artist in the 1950s, during which he was occasionally featured as a model. It includes pieces from his Pop Art era, highlighting his famous portraits of New York socialites and the Absolut Warhol paintings. These works are part of the future Absolut Art Collection and represent one of his most successful ventures into Business Art, marking the beginning of one of the most celebrated advertising campaigns in modern history. Works by postwar artists, such as Yves Klein, Chris Burden, and Lee Lozano, who, like Warhol, integrated business and finance into their art to reflect our economic realities, are also included in the selection. Additionally, the show showcases contemporary artists who explore similar themes, including Darren Bader, Andrea Fraser, Takashi Murakami, Carey Young, and the collective MSCHF. The exhibition will be available for viewing at Spritmuseum in Stockholm until April 27, 2025. Photo by Markus Olsson Mediabolaget

Ingrid Pollard Named 2024 Hasselblad Award Laureate text Natalia Muntean Ingrid Pollard, the renowned British contemporary photographer and artist, was awarded the Hasselblad Prize for 2024, becoming its 44th recipient. Pollard’s work revolves around themes of memory, identity, and belonging, often explored through studies of the body, landscapes, migration, and beauty. A key focus of her practice is photography’s historical and technical dimensions, particularly its use as an instrument of power and control. Her career is marked by an exploration of the intersections between landscape and identity, as well as photography’s role in shaping historical narratives. Her iconic series, Pastoral Interlude (1987), challenges notions of “Englishness” by placing Black bodies within idyllic English countryside settings, exposing the colonial histories embedded in these landscapes. Her more recent works continue to explore themes of migration, representation, and the hidden histories of Britain’s imperial past. In recognition of her profound impact on photography and art, Pollard received a gold medal, a Hasselblad camera, and SEK 2,000,000. Pollard was celebrated during Hasselblad Award Week in Gothenburg, where she received the prize, held her first solo exhibition in Scandinavia, and enjoyed a concert performed by the Gothenburg Symphony Orchestra. Pollard’s oeuvre not only reflects on history but also creates space for contemporary conversations about power, identity, and representation, inspiring new generations of artists and thinkers. Her first solo exhibition in Sweden offers audiences a unique opportunity to engage with her thought-provoking exploration of photography’s capacity to reflect, challenge, and transform society. Ingrid Pollard was born in Georgetown, Guyana, in 1953 and grew up in London. She currently lives and works in Northumberland, northeast England. Portrait taken by Emile Holba

Ulrika Barr’s “Harena” Exhibition Opens at Galleri Glas text Natalia Muntean Known for her innovative technique of combining blown glass with sand casting, Swedish artist Ulrika Barr creates organic, abstract forms that capture the essence of nature. Her works, often resembling stone or lava, are crafted with an intuitive, playful approach that reflects the eternal cycle of sand and glass. Currently on display at Galleri Glas in Stockholm, Harena marks Barr’s first solo exhibition following her time with the Barr & Leven duo. Running from October 17 to November 14, the exhibition draws inspiration from artists such as Georgia O’Keeffe, offering a modern take on Jugendstil and Art Nouveau. Barr’s pieces emphasise the contrast between raw materials and refined form. With international experience and a master’s degree from Konstfack, Barr’s artistry continues to evolve, blending traditional techniques with modern interpretations. Harena offers visitors a unique exploration of natural elements, from the depths of the sea to the earth’s core, through Barr’s distinctive glasswork.

Anna Camner’s “Places to Be” Exhibition Opens at Loyal Gallery text Natalia Muntean “Place to Be”, the new exhibition by Swedish artist Anna Camner, features a new body of oil paintings characterised by pale blues, pinks, and lavender tones, exploring surrealist themes, and blending external details with inner desires. Camner employs the alla prima technique, painting wet-on-wet, which allows her to balance meticulous planning with spontaneous creativity. Her works, displayed across both floors of the gallery, create a bridge between mental and physical dimensions. The exhibition’s title, “Places to Be,” evokes both physical destinations and desired mental states, exploring the dual role of touch in intimacy and connection. The paintings feature opaque “cocoons” that amplify physical sensations, highlighting Camner’s unique blend of figuration and abstraction. Born in 1977 in Stockholm, Anna Camner holds an MFA from the Royal Institute of Art. Her work has been showcased internationally and is part of several notable collections. In 2022, she co-founded the art collective Black Iris, and she has an upcoming solo exhibition with the Ståhl Collection in 2025. This is the artist’s first solo exhibition with Loyal Gallery and will run from October 3 to November 2, 2024.

Gazing Bodies – A Daring Exhibition by CFHILL text Natalia Muntean In CFHILL’s latest exhibition, Gazing Bodies, the interaction between the viewer and artwork takes centre stage. Curated by Caroline Wieckhorst, in collaboration with writer Lo Hallén, the exhibition showcases international superstars like Sarah Lucas, Karon Davis, and Kennedy Yanko alongside Swedish luminaries such as Karin Mamma Andersson and Charlotte Gyllenhammar. The show delves into the idea of the ‘gaze,’ drawing on psychoanalysis, and questioning how artworks can seem to “gaze back” at the viewer. As Hallén explains, “Artworks shape how we move through a gallery space and the way we think and converse in their presence,” creating a sense of power reversal where “they clearly hold a certain power.” The venue, CFHILL’s new space at the Armémuseum, plays a vital role in elevating the experience, with its historical setting and innovative design. “We love this 18th-century space,” says Michael Storåkers, Executive Chairman, “its beautiful natural light enhances the appearance of the paintings and sculptures.” This unique combination of venue and curation offers a profound exploration of identity, perception, and how art influences its observers. We sat down for an interview with Michael Storåkers, Caroline Wieckhorst, and Lo Hallén about the curatorial decisions behind Gazing Bodies, the impact of their new venue, and how the exhibition challenges traditional perspectives on art and the gaze. Natalia Muntean: CFHILL recently shifted to working more like a gallery. How has this new approach influenced how you curate exhibitions like Gazing Bodies?Michael Storåkers: We always wanted to bring the most exciting artists from all over the world to CFHILL, which is still the case, and we still work with the brightest external, international curators to make it happen. In Gazing Bodies, we combined some global stars we have worked with before, such as Paloma Varga Weisz, Klara Kristalova, and Kennedy Yanko, with Sarah Lucas and Karon Davis, together with some amazing Swedish artists we represent like a traditional gallery – among them Charlotte Gyllenhammar, Marie-Louise Ekman and Martina Muntzing. NM: With the move to the Armémuseum, how has the new venue shaped the experience of displaying artworks? Did the space’s historical or architectural elements affect your curation decisions?MS: We love this 18th-century space; how you enter from the grand courtyard and dive right into the art. Its look is a take on the white cube, created by our three architects led by Valentin Nordström, which combines an innovative wall system with the historical setting. The space receives beautiful natural light from different directions, enhancing the appearance of the paintings and sculptures. The co-curators, Caroline Wieckhorst and Lo Hallén worked with the space to heighten the feeling that the artworks by the 22 artists gaze back at visitors. NM: What new things have come with your new way of working and the venue change? How do these changes benefit both the artists and the audience?MS: We wanted to move away from our previous ‘headquarter-style’ space and shift towards a more classic gallery venue. Now, we are in multiple locations throughout the year, participating in art fairs and similar events. Being CFHILL, we, of course, still aimed for something truly impactful, and I believe we’ve achieved the best of both worlds. Regarding this show, I think the white cube structure, the focus on the art in this space, and the beautiful natural light and historical setting support the artists and the audience in this Gazing Bodies experience. NM: The exhibition is called Gazing Bodies. Can you explain how the idea of the ‘gaze’ works in this exhibition, especially with the artworks being seen as if they have their personalities?Lo Hallén: I understand the interpretation of the exhibition text as suggesting that artworks possess personalities, but I wouldn’t use that specific word. To me, it imposes our odd human subjectivity onto them – haha. Instead, for the show, we thought of them as distinct entities with their own desires and demands, which we can’t fully access or comprehend. Yet, they directly influence us as viewers. Artworks shape how we move through a gallery space and think and converse in their presence. They clearly hold a certain power. It can evoke a sensation of being watched – the artwork gazing back – especially when a piece depicts or is reminiscent of a body. NM: You’ve included artists from both Sweden and other countries. How did you choose these specific artists, and how do their works connect to the exhibition’s theme?Caroline Wieckhorst: It’s been a privilege to work with these amazing artists and their artistry. A key for us has been finding a great mix and balance of art with different expressions and mediums that communicate with and challenge each other and us as viewers. Works that, in different ways, have their own gaze and agency, interacting with our emotions, challenging our perspectives and sometimes what we might take for granted or know to be true. How we interpret the artworks is individual, and this is the point – to shift the focus from how the artists, curators, and critics intend for the art to be interpreted and, instead, how the art itself makes us react and feel. For instance, an artwork that very literally gazes back at me is Ulla Wiggen’s eye, Iris. With its ice-blue colour, it’s hard not to feel watched and pierced through your inner thoughts. But is this how you would interpret or feel about this work? And Karon Davis’ sculpture Echo & Narcissus: Looking Glass, speaks to me about the fragility of life, with the plaster that is lightly pieced together and at the same time it holds a certain power and grace, that makes me act with a high sense of respect around it. Paloma Varga Weisz’s large bronze sculptures, Wilde Leute, make me want to hang and sit with them, despite their intimidating size. And Charlotte Gyllenhammar’s child sculpture, Beholder, makes me wonder what she is thinking of and how I best approach her. While Marie-Louise Ekman’s huge floor piece,

I Told You I’d Be Home Most of the Day – A Meditation on Longing by Josef Jägnefält text Natalia Muntean Swedish artist Josef Jägnefält’s first solo exhibition at Saskia Neuman Gallery, I told you I’d be home most of the day, invites viewers into a world where ordinary objects become powerful carriers of hidden stories and emotions. Throughout the exhibition, we are invited to explore the delicate balance between stillness and longing, where the most intimate objects become reflections of human desire. “I don’t think about a story,” says Jägnefält, “I think about the colour and how to get there.” This focus on details and colour lends the works a quiet yet powerful emotional resonance and captures the tension between what is revealed and what is left unsaid, offering a visual meditation on longing and desire. I told you I’d be home most of the day will be on display until September 26th at Saskia Neuman Gallery in Stockholm. Natalia Muntean: Could you tell me a bit about how you started as an artist? Was there a decisive moment when you realised this was what you wanted to do?Josef Jägnefält: I applied to art school, encouraged by friends and family. I initially studied printmaking, but when I applied to university, I focused on painting full-time. NM: Did you grow up in a family of artists?JJ: My mother was a teacher who sometimes taught art classes, though she wasn’t a trained art teacher. She enjoyed it, and her mother was also an amateur painter. It was always present in the family, but no one pursued it as a career until me. My brother is an architect, which is somewhat close. NM: Do you have any routines or methods that help get you into a creative mindset?JJ: Going to the studio every day and just continuing to work is key. Eventually, something happens. My process is slow, using small brushes. It sometimes feels like I haven’t done anything for a week, but when I return to the work, I realise things have moved forward. NM: How does the journey go from gathering images to creating a painting? And how do you decide which ones will become paintings?JJ: I save images on my phone or computer, and they can come from anywhere—books, online, or even everyday observations. Everything gets processed digitally, but I like to print the image to have a physical copy. From there, I might make a simple drawing or use transfer paper to trace it onto canvas or another surface.It’s a very intuitive process. I might find an image, save it, and maybe a year later it resurfaces when it feels ready. It’s not immediate; it’s more about timing and seeing when an image feels right. I print a lot of images and experiment. Instead of starting with a big painting, I might begin with a smaller one to test it. Over time, I’ve painted over so many works, only to later find a picture of the original painting and realise it was interesting. But by then, it’s gone because I painted over it. I’ve ruined many paintings like that and regretted it later. Now, I try to stop before I get to that point, so I can restart the same painting if I need to. NM: How do you decide which materials to use for a painting? What materials or techniques are important for expressing the feelings you want to convey?JJ: I used to buy large canvases and aim for perfection, but it became time-consuming and creatively limiting. After moving to Stockholm, I began using scrap materials like MDF or wood from building sites, which brought more variety into my work. The paint itself is very important. I usually use acrylic paint, which can be in any colour, for my larger paintings. With acrylics, I can be adventurous and use different colours, mixing them as I like. With oils, I limit myself to five colours, inspired by LS Lowry, a British painter known for his industrial landscapes of people in Manchester. This approach has significantly impacted my paintings, as it has forced me to really focus on finding the right colour. I enjoy the challenge of reproducing a printed pattern as closely as possible, but sometimes I can’t get the exact colour I want, which leads to something unexpected and I enjoy that. NM: Are there any materials you’d like to work with in the future?JJ: I’m always curious about new materials. My girlfriend is also an artist, and though she doesn’t paint, she uses a lot of different materials in her work. That’s a great source of inspiration, and we often share materials. NM: Do you give each other feedback on your work?JJ: Always! It’s important to have people you trust. I invite a few close friends to the studio to ask for their opinions. Sometimes you need an outside perspective to see if a piece is finished or if it works. NM: How do you know when a painting is finished?JJ: Sometimes I’m afraid of ruining it, so I stop. There are examples where I stopped too early, but that became a part of the piece. When I put the frame on, it’s like saying goodbye to the painting. NM: When you blend different sources like art history, photography, and magazines, do you feel you’re creating a new story, or are you highlighting elements of existing ones?JJ: It’s a mix. It becomes a narrative, but it’s not a clear-cut story. I don’t have a storyboard or an ending. I want to surprise myself by putting images next to each other, and something happens. I’m not sure what it is, but it’s fun to do. NM: I imagine that it’s like a puzzle? You mix and match the pictures?JJ: I keep painting, and when the paintings are ready, something happens. I might work on several paintings at a time. Many of them get discarded, put on a shelf, and then, much later, I find something interesting