Michael Kvium (b. Horsens 1955) “Papirvirus” (Paper virus). Signed Kvium 89. Watercolour and pencil on paper. Sheet size 25×15 cm. The Danish artist Michael Kvium (b. 1955) lives and works in Copenhagen, Denmark. Michael Kvium achieved his breakthrough during the 1980s with a painting style that to a greater extent than other contemporary artists, was characterized by narrative and literary motifs. The Spanish Baroque painters such as Goya, El Greco and Velazquez were early sources of inspiration in his art, moving in a field between performance, theatre and painting. His works can often be read in the light of the collapse of systems in the 80s, which, with its loss of meaning and coherence as a result, allows science to emerge as a possible explanatory model at the expense of religious narratives. In Kvium's works, the viewer is confronted with a worldview that gives rise to a paradoxical mood of horror and fascination with the ugly. But the fear of emptiness and the absence of meaning simultaneously forms the basis of a redemption in the experience of his works.
Condition
Michael Kvium (b. Horsens 1955) “Papirvirus” (Paper virus). Signed Kvium 89. Watercolour and pencil on paper. Sheet size 25×15 cm. The Danish artist Michael Kvium (b. 1955) lives and works in Copenhagen, Denmark. Michael Kvium achieved his breakthrough during the 1980s with a painting style that to a greater extent than other contemporary artists, was characterized by narrative and literary motifs. The Spanish Baroque painters such as Goya, El Greco and Velazquez were early sources of inspiration in his art, moving in a field between performance, theatre and painting. His works can often be read in the light of the collapse of systems in the 80s, which, with its loss of meaning and coherence as a result, allows science to emerge as a possible explanatory model at the expense of religious narratives. In Kvium's works, the viewer is confronted with a worldview that gives rise to a paradoxical mood of horror and fascination with the ugly. But the fear of emptiness and the absence of meaning simultaneously forms the basis of a redemption in the experience of his works.
Condition
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