Introduction
Paul Fägerskiöldʼs paintings can be seen as an ongoing attempt to build up a lexicon of visual language. He employs elements from moments in the history of painting as much as symbols and signs from visual culture outside the discourse of painting from sources both “high” and “low”.
In his practice Fägerskiöld explores how meaning is created via language, how it can be generated in pictorial space, and how perception functions. There are no figures in the paintings which are instead dependent on the presence of an observer as co-creator of meaning, whether via thought or movement.
Fägerskiöld's work examines the ambivalence that exists between image, painting, idea, and material. There is only one subject in each of his paintings. Relationships do not exist within the paintings themselves but are generated between the surface, the image and the viewer.