Mats Åberg's sculptures seem swallowed up by their own presence.
The dog faces himself in the mirror of water, it is absolutely quiet, the moment freed from any hint of disruption. Nothing may be torn to shreds by the coincidences, there is a subtle struggle against the existence all hassles, one senses the meeting between the moment and eternity. The boundary between the image and the depicted suspended, mirroring and mirrored the rest in another, it is full harmony. To set up your very own reality outside the "reality". It is literally enchanting. One out away. Away to a irresistible near.
During a period in life, we are all so open, as limitless boundaries before creating tougher reminders and sharper contours. Mats has been in his art kept its confident youthfulness, a playful spontaneity about secret messages. He is childish, never naive.
So he builds realities with his sculptures, not imitations of reality, he does not imitate, he makes himself complicit. It is as morning of creation. To distinguish art from reality is just stupid. Mats Åberg sculpts living life out of life itself, his image mimics not an experience, it is self-experience, the material that puts the soul in motion.
Puts the soul in motion. The movement brings Mats Åberg towards surprising affinities with, for example, Ibsen's Peer Gynt and poet Gunnar Ekelöf with his cheerfulness and his antics, his grim details of some of life's most amazing meanings. Take the sculpture of Ekelöf! He is totally recognizable, freed from all unnecessary devices. Pick him up! Wear around him! Put him down! And it is not the landscape that changes him. It is he who changes the landscape.
We see a summary of a human being, an endless range of unarguable claims arising in a little body. And all this, we can touch with our hand! Two women are sitting with three empty seats between them, an image of confident expectation. A dog raises his head towards dawn or dusk. It guards against oblivion. The artist tune his instruments.
Erland Josephson Stockholm, 9 / 4 2006
The dog faces himself in the mirror of water, it is absolutely quiet, the moment freed from any hint of disruption. Nothing may be torn to shreds by the coincidences, there is a subtle struggle against the existence all hassles, one senses the meeting between the moment and eternity. The boundary between the image and the depicted suspended, mirroring and mirrored the rest in another, it is full harmony. To set up your very own reality outside the "reality". It is literally enchanting. One out away. Away to a irresistible near.
During a period in life, we are all so open, as limitless boundaries before creating tougher reminders and sharper contours. Mats has been in his art kept its confident youthfulness, a playful spontaneity about secret messages. He is childish, never naive.
So he builds realities with his sculptures, not imitations of reality, he does not imitate, he makes himself complicit. It is as morning of creation. To distinguish art from reality is just stupid. Mats Åberg sculpts living life out of life itself, his image mimics not an experience, it is self-experience, the material that puts the soul in motion.
Puts the soul in motion. The movement brings Mats Åberg towards surprising affinities with, for example, Ibsen's Peer Gynt and poet Gunnar Ekelöf with his cheerfulness and his antics, his grim details of some of life's most amazing meanings. Take the sculpture of Ekelöf! He is totally recognizable, freed from all unnecessary devices. Pick him up! Wear around him! Put him down! And it is not the landscape that changes him. It is he who changes the landscape.
We see a summary of a human being, an endless range of unarguable claims arising in a little body. And all this, we can touch with our hand! Two women are sitting with three empty seats between them, an image of confident expectation. A dog raises his head towards dawn or dusk. It guards against oblivion. The artist tune his instruments.
Erland Josephson Stockholm, 9 / 4 2006
