Review www. Konsten.nu
Aktuellt 2002-12-15
ID:I Galleri, Stockholm: Örjan Wallert ( 7/12-6/1 2003 )
When [ the Swedish painter ] Torsten Andersson, from during a period of making three-dimensional objects, turned to represent them in painting, it was a choice of more extensive consequences, concerning not only his own artistry.
Anderssons “portraits” of sculptures express the conviction that it is possible to transform three-dimensional shapes into lines and geometrical structures without, because of this, the result becomes an illusion.
Örjan Wallert acts in a similar way, but from an opposite starting point.
He starts the process of transformation in the world of pictures, from which three-dimensional shapes and sounds are filtered out. But the goal is not reached by that.
Wallert stretches the process a distance further , and then the very process itself is dissolved in a mutual, complementary condition.
In the exhibition room suddenly a number of different spaces appear which shut in, or enclose each other.
If we close our eyes it is possible to discern lines combined into figures from the sound sequences. And if we observe the objects and the abstract pictures long enough it is not impossible that they will burst into music.
Örjan Wallerts exhibition is as subtle as it is intellectually and emotionally stimulating. Furthermore it is capable of raising questions about our senses and the problems of representation that are eternally current. That makes the exhibition one of the most notable during the autumn season in Stockholm.
Anders Olofsson
( Translation from Swedish: ÖW )
Sound art traditionally does not hold a strong position in Sweden, which is actually a bit strange. Artistic experiments have not been something unfamiliar on the Swedish art scene where a good example is the “open art” of the sixties. But just as certain is that innovations have had a hard time rooting in the Swedish art soil. It has been problematic for different expressions to share the space of the scene, and too often the talent who has allied with the most totalitarian art professors has been winning at play. Against this dark background the tight and well executed exhibition of Örjan Wallert feels like a sympathetic family gathering, where a personal history comes alive in present.