Tord Wallman born in Stockholm and living in Switzerland/Sweden makes paintings and drawings. By questioning the concept of movement, Wallman formalizes the coincidental and emphasizes the conscious process of composition that is behind the seemingly random works. The thought processes, which are supposedly private, highly subjective and unfiltered in their references to dream worlds, are frequently revealed as assemblages.
His paintings feature coincidental, accidental and unexpected connections which make it possible to revise art history and, even better, to complement it. Combining unrelated aspects lead to surprising analogies. By applying abstraction, he finds that movement reveals an inherent awkwardness, a humour that echoes our own vulnerabilities. The artist also considers movement as a metaphor for the ever-seeking man who experiences a continuous loss.
His works directly respond to the surrounding environment and uses everyday experiences from the artist as a starting point. Often these are framed instances that would go unnoticed in their original context. By creating situations and breaking the passivity of the spectator, he often creates several practically identical works, upon which thoughts that have apparently just been developed are manifested: notes are made and then crossed out again, ‘mistakes’ are repeated.
His works are based on inspiring situations: visions that reflect a sensation of indisputability and serene contemplation, combined with subtle details of odd or eccentric, humoristic elements. By experimenting with aleatoric processes, he wants the viewer to become part of the art as a kind of added component. Art is entertainment: to be able to touch the work, as well as to interact with the work is important.
His works isolate the movements of humans and/or objects. By doing so, new sequences are created which reveal an inseparable relationship between motion and sound. With a conceptual approach, he tries to approach a wide scale of subjects in a multi-layered way, likes to involve the viewer in a way that is sometimes physical and believes in the idea of function following form in a work.
His works doesn’t reference recognisable form. The results are deconstructed to the extent that meaning is shifted and possible interpretation becomes multifaceted. By rejecting an objective truth and global cultural narratives, he creates with daily, recognizable elements, an unprecedented situation in which the viewer is confronted with the conditioning of his own perception and has to reconsider his biased position.
His works are on the one hand touchingly beautiful, on the other hand painfully attractive. Again and again, the artist leaves us orphaned with a mix of conflicting feelings and thoughts. By manipulating the viewer to create confusion, he creates intense personal moments masterfully created by means of rules and omissions, acceptance and refusal, luring the viewer round and round in circles.
With the conclusion that I create WHAT art pieces based on inertia values of objects and its sublimation to our feelings that the observers will determine HOW the feelings and responsive reactions will be achieved. Time and space are having subordinate meaning in these crafted art pieces. This is Vallmanismus 2.0.
Art studies in Stockholm/Zurich: Courses
Art education provided by Uno Vallman (a famous modern swedish artist with several international prices and teaching at Royal Institute of Art)
EXHIBITIONS (SHOW CASES)
Across Europe: Stockholm, Wien, Eindhoven