Bone Black Lamp Black A Second From Half A Second Ago Jakob

tech lighting Bone Black Lamp Black A Second From Half A Second Ago Jakob

tech lighting Bone Black Lamp Black A Second From Half A Second Ago Jakob

Bone black lamp black a second from half a second
Bone black lamp black a second from half a second
Bone black lamp black a second from half a second
Bone black lamp black a second from half a second
Sketches for a room jakob simonson
Sketches for a room jakob simonson
Aperture lamp black acrylic paint on aluminum belenius nordenhake stockholm 2015
Sketches for a room
Viewfinder
From the exhibition jakobs square belenius nordenhake stockholm 2015
Aperture lamp black viewfinder cmy belenius nordenhake stockholm 2015
Viewfinder
Camera
Half dome wall lamp wall sconces by allied maker swiveling wall lamp featuring a black walnut mounting bracket solid brass bent arm hides screws and
One forty threes industrial wall lamp that old black magic sfgirlbybay
Andreas lund and jacob rudbeck bell lamp normann copenhagen has expanded the popular bell lamp range with two new sizes
Interieur
Normally i like black walls but with this navy sofa it would be too dark in daves home i like the blue sofa with grey and brass accents
P lighting created by jakob staer of german lighting maker refer staer black fiber is the name of this futuristic pendant lamp which gets lights up
Pnormann copenhagen bell light by andreas lund and jacob rudbeck the expression of bell is robust the form is simple bell is a pendant lamp in an

The installation consists of three painted free-standing walls in the exhibition space, with supports and iron weights, like a stage set. The three walls each represent cross-sections of the air space at three different positions in an apartment: a room, a doorway, another room. The contours trace the architecture: wall, ceiling, wall, skirt­ing, floor, threshold, door-frame. By painting these “cross-sections” over and over again with transparent coats of black pigment and alternately sandpapering the surfaces, Jakob Simonson builds up a painting that is on the boundary where images are cre­ated, or disappear, where an image is barely an image. The colour is muted and dark as night, but the names and origins of the pigments evoke figurative associations that are reflected in the title of the work: Bone, black, lamp, black … a second from a half second ago.

CMY (arriere boutique), acrylic paint on aluminum,113×100 cm, Galleri Ping-Pong, 2011.

Viewfinder, acrylic paint on aluminum, 251x70x69 cm.Photo: Terje Östling

CMY (door), acrylic paint on aluminum, 117×53 cm, GalleriPing-Pong, 2011.

Aperture (Lamp Black), Viewfinder (CMY), Belenius/Nordenhake, Stockholm, 2015.

Installationen utgörs av tre målade väggar som står fritt i utställningsrummet, med hjälp av stödben och järnpundare, som kulisserna på en teaterscen. De tre väggarna representerar var sitt tvärsnitt av luftrummet i tre olika positioner i en lägenhet: ett rum, en dörröppning, ett rum. Konturerna följer arkitekturen: vägg, tak, vägg, sockel, golv, tröskel, karm.

In my imagination there are no images that correspond to what you are saying. Photo: Patrik Elgström

From the exhibition In my imagination there are no images that correspond to what you’re saying, Galleri Mors Mössa, 2013. Photo: Patrik Elgström

Bone, black, lamp, black… a second from half a second ago. Akrylfärg, plywood, trä, gjutjärn. 275x399cm, 207x90cm, 275x559cm. Moderna Museet, Stockholm, 2010. Foto: Sesse Lind

Viewfinder (CMY), acrylic paint on aluminum, Belenius/Nordenhake, Stockholm, 2015.

Viewfinder (CMY), acrylic paint on aluminum, 206×103 + 206×103 cm, Belenius/Nordenhake, Stockholm, 2015.

Aperture (Lamp Black), acrylic paint on aluminum, Belenius/Nordenhake, Stockholm, 2015.

CMY (front), acrylic paint on aluminum, 134×159 cm, GalleriPing-Pong, 2011.

Viewfinder (CMY), acrylic paint on aluminum, 276×206 cm, Belenius/Nordenhake, Stockholm, 2015.

Bone, black, lamp, black… a second from half a second ago. Acrylic paint, plywood, wood, cast iron. 275x399cm, 207x90cm, 275x559cm. Moderna Museet, Stockholm, 2010. Photo: Sesse Lind

Genom att gång på gång måla dessa “tvärsnitt”med många transparenta lager av svarta färgpigment och dessemellan slipa ytan, bygger Simonson upp ett måleri som rör sig på gränsen där bild blir till, eller försvinner, där bilden nätt och jämt är bild. Färgen är släckt och mörk som natt men pigmentens namn och ursprung ger figurativa associationer som reflekteras i verkets titel: Bone, black, lamp, black … a second from a half second ago. Betraktaren står inför en inverterad representation av verklighet. Det uppstår en ambivalens mellan målningen som bildrum å ena sidan och som struktur i det fysiska rummet å andra sidan. Han eller hon tvingas gå runt dörröppningen och rummen istället för att passera igenom dem. Luftrummet har upphört att vara rymd och blir istället gräns.

From Edstrandska stiftelsens stipendiater 2013, KHM, 2013.Photo: Terje Östling.

Viewfinder, acrylic paint on aluminum, 271x70x130 cm.Photo: Terje Östling

From the exhibition Edstrandska stiftelsens stipendiater 2013, KHM, 2013. In the forefront Ocean Spray by Tiril Hasselknippe. Photo: Terje Östling.

Viewfinder, acrylic paint on aluminum, 98×85 cm. Photo: Terje Östling.

From the exhibition Jakob’s Square, Belenius/Nordenhake, Stockholm, 2015.

The spectator is confronted with an inverted representation of reality. An ambiguity arises between the paint­ing as a pictorial space, on the one hand, and as a structure in the physical space, on the other. We are forced to go round the doorway and the rooms instead of passing through them. The space has ceased to be a space and instead becomes a boundary.

Viewfinder, acrylic paint on aluminum, 121x70x41 cm,106xx51x35 cm. Photo: Terje Östling.

From the exhibition Shapes in the Making, Lunds Konsthall, 2013.

From Shapes in the Making, Lunds Konsthall, 2013. Photo: Terje Östling

Raw Umber, White Out, acrylic paint on aluminum, 2 pcs91x42 cm.

Bone Black Lamp Black A Second From Half A Second Ago Jakob