The changing konstmaskinen Ernst Billgren

The simple, uniform framework of thin eklister suggests that the volume is turned down. But to Ernst Billgren this time have renounced their heavy, verkspecifika and demanding framework ' means is hardly that he has become less bombastic.

the Images inside the simple framework is overflowing of activity. In the thirty paintings constitute the exhibition ”10 200” at the Galerie Forsblom takes Billgren in from the toes.

the exhibition title indicates the area in kvadratcentimetrar, and set just like the lack of playful frames the painted surface in the center.

explored the ever-identitetslekande Billgren effects of using a variant of his christian name Wilhelm Kröckert as an alter ego. The artistic result was not artfrämmande, but as Wilhelm von Kröckert found Billgren a little darker, more fantasy-oriented motivsfär, full of dramatic landscapes, giftgröna heavens, distinguished, elaborate and richly detailed dresses and jewelry. A little less obvious smartness and fewer sampled Bruno Liljefors-animals. A little more the climate crisis, and more references to classic adventure novels.

Ernst Billgrens ”the Letter” Photo: Per-Erik Adamsson

In the ”10 200” has Billgren approprierat von Kröckerts dystopian fantasies, but also more ogarderat released his patented menagerie of foxes, squirrels and ducks in the images.

Here, climb the hares and deer merrily over the broken landscape and rooms. The level of detail is consistently high. Each image holds a minor myriad of smaller images. Elaborate parties followed by rapid, sketchy, or completely abstract fields of colour. Sometimes it makes the composition better, sometimes for it to be done. There is a momentum in the movement from picture to picture, as if the creation has been marked by a frantically flow.

Ernst Billgren less vitsig than usual, while the lustful, the envelope gives the impression that he has had more fun than in the past when he paints.

The narrative, the move is clearly in the pictures, but the story they say is less clear. Most of all, it feels as if the artist set up a large smorgasbord of attributes he likes and indulged in daydreams that contains both darkness and light.

”First landscape” Photo: Per-Erik Adamsson

In a few paintings is the abstract parties bigger or more important. Some ducks, or if it is grouse, struggling with a lively black-and-white, almost informal background, and a squirrel munching away happily on a wild strawberry in front of a large fractured surface in white, brown and red.

Ernst Billgren ”First mammal” Photo: Per-Erik Adamsson

anything that makes to the degree of gravity suddenly becomes higher. As if the painting to the subject, had discovered something new. As if the painting was looking for a precision Billgren normally hurry past with a sweeping gesture.

Maybe a hint about the next step for the changing konstmaskin who usually call themselves the Ernst Billgren. ”10 200” is hardly a nyckelutställning in his career, but well in a fast-paced and entertaining staging.

Read also: Ernst Billgren vs Wilhelm von Kröckert at Borås art museum