From the range, the ink cleaning paint made by Swedish musician Gunnel Wåhlstrand may be a photo. Plus, if you’re going to allow them to attract you again – maybe when dancing on the water or stunning hairstyles, the concept of their completely handmade seems almost awesome. Recording the tiring coast of Sweden on the neck through a lavender gown and a fragile rock, the extreme, expressive work of Wåhlstrand immediately relocates, transport, haunts and secrets.
Wåhlstrand ended her numerous creative inspirations and motivations from an island workshop in Stockholm: she devoted her dad’s self-destruction at the age of one; award-winning writer Wendy Carlos has an excellent musical influence to create a soundtrack for Stanley Kubrick. She also revealed very unique work procedures that are integrated to create their own technology.
Each paint takes 4 to 6 months. Wåhlstrand will never inform anyone, including her gallery, what she is doing. “It’s always similar to this. I use it as a key, which makes the uniqueness of entering the space even more unique.” Sometimes her nine-year-old girl, Turid, will definitely wait for her at the workshop door (Turid intends to be a painter, too), or will definitely stay on the floor if she is welcomed.
Wåhlstrand loves talking to her paint and playing 4 CDs in a row. Recently, she has actually been following American writer and accordionist Pauline Oliveros, whose marginal songs have kept Wåhlstrand holding his breath. When she thought she could go all out, Jenna Hultén, who was only 27, was allowed to attend Wåhlstrand’s workshop to tell her if she actually did the job.
Wåhlstrand joins Carlos in mobilizing Edvard Munch, Gerhard Richter and Ola Billgren’s motivations, although it’s the look of a series of ink paints – Jesus’ quiet (1994) Marlene Dumas-Wåhlstrand said that led her to try the tool. She was the first person, the individual attracted to the traditional CD of mom and dad. “I tried not to represent them, so I repainted the others on the CD until I learned that I was working on something more important: the photos of my dad, and the photos of his mom and the moment they were between each other.”
Wåhlstrand’s paint technology is risky: when the ink hits the paper, it cannot be changed. This sense of threat appears in the office. “I tried to repaint with ink, and you could get rid of it with water, but it wasn’t exactly the same – whatever it really felt like it was dead,” she said. “I think I seemed to need to do something.”
