From classical to contemporary visual aesthetic - 1

A surface liberated from classical compositions!

It all started in 1995 when I returned to Denmark after a longer stay in Peru. The first remarkable change that hit me immediately was integrating the computer at the user level in everyone's home and implementing the windows system in the way of common and daily operating.

It had to effect on visual thinking as well. Until then, compositions in the golden section or the harmonic gate had been dominant in the visual arts, but with the new technology, it became useful and common to consider several overlapping surfaces simultaneously, even able to control layers underneath. This substantial part has always been part of an artwork and will always be, but suddenly the underlying layers were more or less available. The surface was a free space filled with content to use, remember, or focus on -?Chaotic, but a manifestation of human intelligence that was so magnificent and turned my visual aesthetical sentences upside down.?

The contemporary human's ability to hide behind a screen and multiple layers of emotions. A way to express immunity from being held up on one particular feeling. First, I produced a series of oil paintings composed of windows, and a wooden doll, the subject in the middle of these windows is a picture of the comfortable numb.