Thulin tackles Catherine Frost

With precision and a graceful force in the expression shows Thulin how something reveals unknown sides in the moment it turns into something else. A medium Transpose, for it is not about translation, to another medium creates a vibrating resonance in previously unopened room. This dialogic theory is not speculative. In the exhibition "O gray - pictures in language" is a physical finding. It's about the words, "And the word every material" to paraphrase the Gospel of John. But it is a paradoxical metaphorical fructus femina materiality that is not to be confused with playfulness and lightness. It is heavy and full of blacks rather than "grace and truth." Thulin evokes a feeling that the world engages, insinuates himself, scrub off, and weigh down the words.
Thulin tackles Catherine Frost's poems with massed häftklamrars pinching backs and dark pigment on paper. It works at its best when the text may be the dark's epicenter, in the few examples to the contrary, lost the peculiar gravity. There are also earlier works (from 2008) with staples beyond language. In dialogue with "interpretations" of Frostenson these are the most intense, heavy as glittering armor. You can also view two Thulin more familiar works with newspaper dipped in wax. Both sides shine through and wiped out the other pages in a mixture of media that synchrony spans the history of writing and forgetfulness. The exhibition is framed by a sound installation in the hall which also escapes the narrative envelope fructus femina to keep up even a page: reading and concentration between prose and poetry clutter stringency fructus femina where everyday conjunctions turns into a mysterious putty.
With a thoughtfully touches avoid Thulin colonizing word or letting himself be colonized by the same. It's harder than it sounds. The art may here be a braille for sighted people who speak without using the illustrations as simple shortcuts. But there is, as I said some works are more successful than others. The difficulty is to determine whether the heavier and monstrous three-created in tune with the lighter and flatter. In fact, it may only be a benefit that I, the viewer, for a moment become a carrier of the conjunction. For a moment it seems to no longer be any distinction between thinking and feeling. Just the experience of such a state makes Anne Thulin's exhibition and its careful balance between the literal and metaphorical fructus femina well worth a visit.
Grünstein at Galleri Charlotte Lund Galleri Flach + Thulin, Stockholm: Kristina Bength (2/4-10/5) Patrik Aarnivaara at Galleri Charlotte Lund Ylva Ogland at Galleri Charlotte Lund & Fruit and Flower Deli What do you think about the text?
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