Join us for a conversation between artist Luca Bjørnsten and Bricks founder Morten Halborg-Møller, as part of Bjørnsten's solo show 'Landscapes, Still Lifes & Other Things,' running from August 18 to September 16, 2023.
MHM: How did you come up with the name "Landscapes, Still Lifes & Other Things" for this exhibition?
LB: Initially, I was uncertain about the content of the exhibition but I knew I wanted to do something open and free, rather than something too constrained. One night, I found the sentence "Landscapes, Still Lifes & Other Things" in one of my notebooks. It reminded me of Stanley Kubrick’s movie title “Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb”. There's something special about these long, descriptive titles. They're memorable.
MHM: The use of gas stations, supermarkets, and industry in your works fascinates many, as you portray everyday places in a new and different light. What interests you about these seemingly ordinary places?
LB: It's important that my work reflects the time we live in. We exist in a consumer society where everything feels product-oriented. Places like supermarkets are often seen as functional rather than aesthetically beautiful, and the narrative around consumerism is typically negative. But can we tell a different story? This presents an interesting challenge because, while my works might contain humour and irony, it is also a love declaration to the constructions, colour combinations, logos, and memories associated with these places.
The gas station is interesting to me for various reasons. First and foremost, it's associated with nostalgia. I clearly remember the colours and the mechanical sculptures of a specific gas station from my childhood, and there was a San Benedetto ice tea machine that offered the best free samples. Although gas stations rightly symbolise issues like global warming, I also see them as sculptural masterpieces filled with memories. They appear to me almost as majestic churches on the highway, especially after long stretches with only fields and asphalt.
MHM: When and how did you first discover your passion for painting?
LB: As far back as I can remember, I've been fascinated by the visual world of cartoons and video games. I drew a lot as a child, then it transitioned to graffiti, and later to painting. After finishing my bachelor's degree from Gerrit Rietveld Academie in 2011, I worked as a film editor for several years before returning full-time to painting. I could probably be doing animations, editing films, or creating video games by now, but when I was a film editor, I always missed painting. When I started painting again, I was overwhelmed by all the technical and aesthetic possibilities. One day, I bought a small box of oil pastels which seemed to fit my slightly OCD and somewhat neurotic brain. By limiting myself to a specific number of colours and the pastels' greasy consistency, it became easier to determine my direction. It reminds me of the old 16-bit computer consoles. There's limited information, and the colours are bright and distinctive, so if the grass is green, the trees might be yellow. I still work with these types of limitations. I like to paint in thick layers, somewhat like big soft pixels, and due to the physical element of the oil paint, it hopefully evokes associations to something synthetic, like cake frosting or coloured glue. A chemical rush from a colourful candy bag or sugar mixed with valium.
MHM: Which artists have had the most significant influence on your career?
LB: Off the top of my head, I think of Richard Diebenkorn’s figurative landscape paintings, Martin Parr’s colorful photographs, but most of all, Giorgio Morandi’s still lifes – an absolute favorite.
MHM: Can you describe a typical day in your studio? Do you have any rituals or habits that help you get in the mood?
LB: Sometimes, I work quite intensely, but I also have days where I feel completely drained. It varies a lot. I also spend a lot of time researching and brainstorming ideas. It can take days of Google searches or going through my own photo archive before I know what I want to create. My works usually start with a photograph. It could be a shape, a colour combination, a shadow, or something else that kick starts the painting. When I venture out into the physical world or search on Google, I usually have an idea of what I'm looking for. I also listen to audiobooks or podcasts daily. Conversely, music can sometimes stress me out or influence my emotions.
MHM: What do you do when you're not working in your studio?
LB: That's a good question. What do I actually do? I watch movies or search for British satire sketch shows. Lately, I've been playing a lot of chess. It comes in phases where I play a lot and study games, but then I reach a point where I get frustrated that I'm not getting better, and then I might not play for half a year.
MHM: How do you hope the audience will react or feel when they experience your work?
LB: I hope it evokes a sense of wonder and perhaps even a realisation that beauty can be found in unexpected places. But more than anything, I hope to make people smile. That's a significant achievement.
MHM: Thank you for your time, Luca. We wish you the best with your exhibition.
