MARIA LUNDIN

I liked the idea of exploring the opposites in unity. I see ‘despair and hope’ as concepts that are connected, that need each other for them to manifest. That contrast is the point of inflection to rethink each of these concepts as a process and not as a result. There is a critical hiatus between them: a process of detachment of both extreme emotions. Despair must be experienced in order to feel hope. Hope must be lost in order to feel despair. Based on the idea above, I conceive of the two paintings as twin paintings, in which only the symbol's position would determine their difference. The colours were first. I thought of cold colours because they represent vulnerability to me. They represent a static moment, a ‘static being’ in introspection or giving themselves to something else. The shapes are recurrent in my art: the temple shaped beings represent the soul in the body. The position of their profiles (whereas looking up or down) will represent their state of spiritual development, where looking up or down poses the recognition and acceptance of their own spiritual reality. I imagined the same idea but using birds instead of temple beings, the birds will be soaring up in the sky for hope, or falling down in despair.