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22.06.03 – Anna Bohman Gallery – Tilda Lovell
Anna Bohman Gallery – Tilda Lovell – May 12 to June 12, 2022 – Karlavägen 15B – Open Tue–Fri 12–6 PM, Sat–Sun 12–4 PM, Monday by appointment
ABOUT the artist
TILDA LOVELL born 1972 in Mölndal, currently lives and works in Färila and Stockholm. Tilda Lovell studied at Hovedskous Painting School in Gothenburg (1996–1998) and at the Royal Institute of Art in Stockholm (1998–2003).
Tilda Lovell has had solo shows at, for example, Gothenburg Art Museum; Turku Art Museum; Vänersborgs konsthall; Norrtälje konsthall and Lars Bohman Gallery, Stockholm. She has participated in exhibitions at Malmö Art Museum; Uppsala Art Museum; Eskilstuna Art Museum; Bonniers Konsthall and Färgfabriken in Stockholm, Vestfossen Kunstlaboratorium, Norway; Turku Biennial, Finland and Tête gallery, Berlin, among other galleries and institutions throughout Europe.
Tilda Lovell has received numerous awards such as Hans and Desy Viksten’s Grant (2022), Sten A Olssons Kulturstipendium (2017), Marianne & Sigvard Bernadotte Art Awards (2014) and the Maria Bonnier-Dahlin Grant (2003).
Tilda Lovell’s work is in the permanent collection of Gothenburg Art Museum, Malmö Art Museum, Borås Art Museum, Sweden’s Public Art Council and Maria Bonnier-Dahlin Foundation, to mention a few. Tilda Lovell has done several public commissions, most recently for Uppsala municipality and Gothenburg city. https://www.tildalovell.se/
ABOUT the exhibition
Tilda Lovell’s symbolically dull theme is, for obvious reasons, more relevant today than ever. Her bird skulls and mini-variants of human skulls and skeletons testify to dark movements in our time. But it would probably be wrong to over-interpret and overburden the iconography. Dystopia is definitely there, but it is not explicitly time-bound; the darkness is suitable for today’s war climate as well as for medieval mysticism.
But above all, there is a liberating humor of the black form that bites best. With the help of bird skulls and dry root parts, Tilda Lovell creates bastards in magic format. It is creative and at the same time both toned down and unpretentious. As if she wanted to show how purely simple the ingredients are. But here are also several examples of the opposite: intricately cast bronze trees and aluminum reliefs with a high material technical finish.
Another interesting trace of epic narration can be found in the scenes where Tilda Lovell has placed bronze figures in imaginary mini-worlds. As a fund for these dramas, she uses wooden boards where stylized figurations appear etched or burned from the log itself.
It is in this series that one finds the both sad and love-saturated metaphor with the two deer stuck in each other’s horns. Even the trees behind them seem helplessly tangled as in a Gordian knot. The question is whether even an Alexander cut could solve it. It is not difficult to read in here a symbolic transfer of the problems of the love affair, of the complicated and addictive patterns that are precisely the DNA of love.
In the inner room, another tragicomic drama takes place. In a stop-motion film in the form of a shadow play, the bird skulls return, but here as actors in a dance macabre, a kind of death dance for the deceased. As in spasms, the bird figures move over the shallow stage. The slapstick comedy is palpable and death is as always as present, here as a fool and a joker.
Stockholm 2022-05-18 © Leif Mattsson
ABOUT the gallery
Anna Bohman Gallery is a contemporary art gallery in Stockholm, Sweden. The gallery works with both emerging and established Scandinavian and International artists. The gallery opened in 2012 as ANNAELLEGALLERY. The name changed January 2019 to Anna Bohman Gallery.