72 New Kings Road
Fulham, London SW6 4LT

Artists Lars Rylander

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Acrylic on canvas 100cmx100cm Sold

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Lisa Norris Gallery is pleased to present recent work by the Swedish abstract colourist painter, Lars Rylander.

With an exhibiting career that has crossed Europe and Scandinavia a number of times as well as Japan and North America, Lars energetic use of colour and the vibrant manner in which he applies his spectrum of palette has arrived.

“A couple of canvases lying on the floor in the studio.  In no particular order and without any specific up or down.  So that I can walk around them. Unpainted, quite white and precisely cut from the roll of canvas. I walk around and paint on them with long brushes.   In the beginning quite unplanned, a little here and a little there. Mixing new colours and continuing  while the paintings are emerging. I pick up one of them  and nail it to the wall. Concentrating  on that particular canvas. Slowly approaching what I want to express.” – Lars Rylander

 

Review of Nerike sorts of January 26, 2014

He forms a pounding painterly body whose energy radiates from the ubiquitous red colour. Lars Rylander’s first exhibitors late winter of 2014 at the Gallery Örsta. Even if you immediately in the first room faced with a colour scale that is not at all an impact on the characteristic red denominations otherwise he is so familiar to, it’s just the warm red colour’s keynote as bolts that a warm heart through the premises.

Yes, it is painfully beautiful red that almost makes me dizzy to the white room and the white winter with light snow that is there right outside the gallery windows. Red and white take turns to dazzle me as long as I’m there. It oscillates between the Whites endless expanse and the Reds intrusive intimacy, its physical proximity.

The warm red colour has become something of Lars Rylander’s hallmark even though he said trying new lighter and brighter colours in the first room suite of images, but more on that later.

The colour red has a range of symbolic meanings around the world and although it can mean both danger, war death in some cultures, it is also the colour of life, blood, energy, lifeforce.  The red can also represent – with a basic psychological basis – a sort of prenatal world. One of body experience where the foetus “sky” in the womb universe are red like a sunset on Mars.

In Lars Rylander’s work it is the colour that generates the creative room that becomes his images. It creates the plate from which the images almost subconsciously emerge. The red is the energy that leads, which breeds the lines, shapes and symbols that intrudes into the paintings’ surface plane. I think it is no coincidence that many of his paintings have been following so-called Japanese style.  In several works in this exhibition countered the red warm basic tone of the emblematic trumpets reminiscent of calligraphy characters. And so it becomes a whole: the red of the red Japanese lacquer and dark or black characters or the forms of calligraphy ink.

Once more articulate, but with a controlled abstract design that when it threatens to speak to the viewer in the form of other shapes and squiggles.

There is no revolutionary change in the red envelope, but there is a virtuoso refinement that does not feel like repeats and retakes, but rather as exciting nuances.

Lars Rylander has tried to abandon the red.  Bright images of pendants to the red but in a more intimate way. They contain more figurations reminiscent of portrayed landscape with buildings and different topological objects, as well as nature. They radiate that said something milder, something that demands that we move closer and chatting a bit. There is no risk of being scorched by the heat, if not the magmatic heat in the red. Rather winter’s low-key narrative of rest and waiting, of introspection and longing for the time when the large red planet rises higher in the sky, and life turns back with full force.

STEFAN NILSON