Is it political to be lost in the forest?
Oskar Nilsson’s work is rooted in a romantic, expressive tradition, from van Gogh to Nordic folk-tales to teenage punks of today. It’s a world of (pseudo) alchemical rituals where Kate Winslet is placed on the altar and the air echoes with Ingmar Bergman’s voice. It is painting that takes a tour through subterranean landscapes of desire and lust.
The teenage boy’s room with its stains and messy order is replicated on the canvases; a taste for the seedy and more moody aspects of life is presented to the viewer, albeit with a large dose of dark humour. The Nordic melancholy of Strindberg and Munch is placed within a contemporary frame.
The underground in its various meanings have a central role in Nilsson’s work. Recently, a long haired metal figure has made his way into the paintings, standing up to his waist in sewage, pondering if to enter the tunnel before him with its radiating colours and hidden depths.
Oskar Nilsson (1976, Ulricehamn, Sweden) lives and works in Stockholm.