Galleri Lars Bohman is pleased to announce Petter Zennström’s first exhibition at the gallery. The exhibition consists of a series of new paintings.
During the 1970s Petter Zennström became known for a wider audience for his black and white wood engravings. The work was angry and aggressive; words and images combined in order to channel anger at the world’s political, economic and social injustices. Petter Zennström once said, ‘I live in the belly of the beast, in the midst of welfare’, and his early art aired his fury with unjustly distributed resources and political violations.
During the 1980s and the 1990s Zennström developed his painting and his distinctive and unique imagery. Strong colours and organic forms expanded over the surface of the image and the paintings moved from the figurative to the abstract. The paintings no longer commented on a specific political or ideological conflict, but rather related to them. Hidden in the painting, on an implicit level, there is a contemplation on the present which is at times difficult to come to terms with.
With time the form has come to dominate over the explicit message and there is a desire for beauty in colour and shapes. In the new works, the paintings have their origin in one of two fundamental forms: the upside down and the mirrored. The colours are no longer the earlier bright primary colours but rather a more dull range of brown shades.
Born in 1945 in Stockholm, Petter Zennström lives and works in Västerljung. He received his artistic education at the Royal Academy of Fine Arts in Stockholm (1971-76). He has exhibited widely in both Sweden and abroad. He is represented in Sweden at, among others, Moderna Museet, Stockholm; the National Museum, Stockholm; Borås Konstmuseum, Borås; Göteborgs Konstmuseum, Gothenburg; Malmö Museum, Malmö; Norrköpings Museum, Norrköping; Rooseum, Malmö and The Museum of Contemporary Art in Oslo.
During the 1970s Petter Zennström became known for a wider audience for his black and white wood engravings. The work was angry and aggressive; words and images combined in order to channel anger at the world’s political, economic and social injustices. Petter Zennström once said, ‘I live in the belly of the beast, in the midst of welfare’, and his early art aired his fury with unjustly distributed resources and political violations.
During the 1980s and the 1990s Zennström developed his painting and his distinctive and unique imagery. Strong colours and organic forms expanded over the surface of the image and the paintings moved from the figurative to the abstract. The paintings no longer commented on a specific political or ideological conflict, but rather related to them. Hidden in the painting, on an implicit level, there is a contemplation on the present which is at times difficult to come to terms with.
With time the form has come to dominate over the explicit message and there is a desire for beauty in colour and shapes. In the new works, the paintings have their origin in one of two fundamental forms: the upside down and the mirrored. The colours are no longer the earlier bright primary colours but rather a more dull range of brown shades.
Born in 1945 in Stockholm, Petter Zennström lives and works in Västerljung. He received his artistic education at the Royal Academy of Fine Arts in Stockholm (1971-76). He has exhibited widely in both Sweden and abroad. He is represented in Sweden at, among others, Moderna Museet, Stockholm; the National Museum, Stockholm; Borås Konstmuseum, Borås; Göteborgs Konstmuseum, Gothenburg; Malmö Museum, Malmö; Norrköpings Museum, Norrköping; Rooseum, Malmö and The Museum of Contemporary Art in Oslo.