Introduction text by Bob Hansson:

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​And so, he came into the kitchen, shortly after his own art work which was already there. I thought I saw a boy, a fresh confusion, a pain. I thought to myself: “that is me”. Where do we draw the line between that which is seen and that which sees?

No-one knows. I also saw something else. Under the thin layer of boy: a small, directed light, a light that gazes, a light just waiting to show us something. Something beyond. Something fantastic. Something that is actually impossible to depict.
One shouldn’t underestimate the audience’s delight in repetition. That which is familiar is an embrace.

His internationally most famous images are not his most interesting work, at least not according to himself. So, we spoke of people’s predilection for repetition. If groundbreaking art is to be recognised, it needs to be at least in part a repetition, as it will otherwise run into difficulties being recognised as art at all. For a revolution to be recognised, it needs to resemble other
revolutions. So as to be experienced as completely unique, you should avoid being just that.
Why does Joakim insist on trying to make art out of something that can barely even be expressed? Why has he chosen to depict
something so brittle and amorphous? He himself claims that is because of something very simple. Where other artists have
succeeded in depicting the formless point of intersection, Joakim weeps in the face of all that beauty. How then could he
do anything else?

The less there is an experience of myself, the more there is an experience of wonder. And so, there he sat in the kitchen; I was meant to be writing about him, but he had just as many questions for me as I had for him. As if his sense of curiosity had not learned to pause. I told him of how my creative work stems from my longing for love. He spoke of how his work comes
from a longing for freedom. He had taken a look at his father, a politically driven author of the 1968-movement, and thought
to himself “but he isn’t free!”. And so, the boy decides that he should try to be free himself. Behind every creation, something that was missing. And a sense of hope of course, that what you had been searching for, - would one day be found to have been there all along …
When I ask what his images are showing us, he replies that the best answer to my question would be for him to guide our continued reflections through a meditation. We seat ourselves on the floor. And then all is changed.

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Introduction text by: Joakim Eneroth

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Blinded by the Known is the third part of a trilogy where I explore how the human mind creates psychological projections and fabricates a dream-like inner reality.

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In the first part (Short Stories of the Transparent Mind), I explored the dimensionless aspect of our consciousness, where I investergated how human experience is made up of illusory assumptions. In the second part (Whispering Void), I investigated our tendency to over-identify with these mental constructions.

In this last part, Blinded by the Known, I have explored the underlying subjective mental filter that we constantly act from.

In this new photographic artworks, I have aimed to make this transparent layer of interpretation and positioning visible, and point out how it permeates every part of the human experience.

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In this series of photographs I have experimented with a new three-dimensional technique I have developed, so some work are made as photographic three-dimensional holograms.

In other of the photographic artworks, I have allowed the hypnotizing illusion to slowly dismantle, as we peels of the different layers of subjectivity. Here I have used stencils to spray-paint objects onto the photographs. These photographs create a paradox between a depicted reality and a constructed scenery, experienced simultaneously. The spray-painted objects in a real photo landscape create an oscillation between a documented situation and a subjective fabricated narrative.

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These artworks gradually establish a new perspective, where the mind no longer can believe its own thought constructions nor its visual interpretations or imprints. And when we discern the faculty of believing appearances, it becomes possible to transcend the subjective filters altogether. We can then, on a deeper level, appreciate these artworks’ ability to reveal reality beyond the perception of the dualistic mind.

 

The art exhibition includes photography, electromagnetic floating sculptures, paintings and photographic three-dimensional holograms.

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