Emily Gernild's artistic practice esteems the non-esteemed motif; objects and possessions, that which we take for granted and with which we surround ourselves in our daily lives. The works often appear as visually appealing paraphrases over the genre still life and the classic Vanitas flower motif.
An important source of inspiration for Gernild has been the artistic pioneer, Hilma af Klint (1862-1944), who in 1906, before Kandinsky and Mondrian, created large-scale abstract paintings. Following her own wish, these paintings were, however, only shown long after her death, a fact that resulted in a rewriting of art history.
Gernild's paintings are performed with a high level of sensitivity, and the surface is characterised by formal rhythm and contrasting colour. Using colour, light and volume, she emphasises details and individual parts. The work moves closely to where the original motif completely dissolves, and the components of the images and their mutual dynamics take over.
The beauty and intimate drama of perishability is a constant driving force for her. By using coarse brush strokes and high-intensity oil colours, Emily Gernild adds an insistently immediateness to the perfection and grace known from the original flower paintings.
Text source: Galleri Kant
Emily Gernild was part of Marcy's Sensual Closeness exhibition