kristian touborg: BLOOD MOON ECHOES
november 2nd – december 15th  2018

Excessive Impressionism

”Art is a compilation of situations modifying the notion of linear time. Art is what is, what was and what might be tied in an instant.”

Kristian Touborg’s predominantly figurative paintings are composed based upon a democratic use of technical reproduction and reconstruction as the main artistic framework. In line with his preceding artistic production, Touborg looks beyond the creation of a strict main visual narrative in order to allow the equally sampled and original produced elements to maintain their autonomy within the frame.

In Touborg’s artistic practice the notion of a blank canvas as a starting point for a painting has been replaced by the use of a compilation of digitally printed fabrics and various industrially treated materials and cut up canvasses. These fragments are then assembled through the use of collage techniques hinting at a Dadaistic montage tradition. This allows the viewer to examine each component as it stands out as a particular trace of inspiration, being a certain tactile or optical experience Touborg has collected or photographed only to reproduce it manually or digitally. In addition to this notion of the fragment as mere functions of their origin, the accumulation of data represented within the framework of the piece can be seen as part of a composed whole, in which the accumulation of impressions becomes graphic representations of simultaneous experiences, encapsulating an excess of impressions.

As Touborg expands and reconstructs the canvasses into awkward polygonal shapes, he differentiates and takes ownership of both the finished compositions and the incorporated fragments, as they differ themselves further from their various origins, blatantly disregarding whether this is a celebrated art historical masterpiece or a snapshot of a melted dumpster distorting the aesthetic of the streets of Copenhagen.

In Touborg’s paintings the coarse stitching exposes his artistic process, as we can se how he has rearranged the figuration’s context in opposition to e.g. the invisible montage, we know from digitally altered images. Standing before a piece our attention is instantly drawn to the unpleasant feeling of cutting up an oil painting, only to rearrange and sew it together once again. The visible thread then becomes a demonstration of how a number of preceding processes accentuate his fundamental view on materials and artistic processes as equated.

As the collected montage of textural fragments is then stretched on frames, which are characterized by their atypical shapes, Touborg renegotiates the two-dimensional space of the canvas further as well as he stresses the ambiguities in the works. This ultimately hints at what philosopher Henri Bergson’s described in L’évolution créatrice, 1917, as a notion of the artistic creation as a method to compile everything and every age’s connection in an instant. In the series of works titled Loophole Trails the exposed thread becomes our trail to comprehend Touborg’s overall artistic assessment of not only what is, but also what was as he referrers back in time to the painterly tradition of the impressionist as he simultaneously explores the potential in what might be.

The artworks thus become loopholes within an abundance of data for us to explore.

Images from the exhibition. Click to enlarge.