JONAS PIHL | MULTITUDES
“I am large, I contain multitudes” Walt Whitman stated in the poem “Song of Myself” from his poetry collection, Leaves of Grass. Jonas Pihl’s art embodies this largesse described by Whitman, containing a space and a place for a multitude of worlds. In Pihl’s work, we look through different angles of the prisms in the chandelier of reality. There is not one but an infinite number of roads into the paintings and onwards to the other side.
Through landscapes, seascapes and overall inner-scapes, Jonas Pihl investigates multiple possibilities that repel against the one-sided, goal-oriented everyday life of society. Here art is a many-faceted free space rather than one absolute. To realize his visions, Pihl precisely employs an array of different acrylic painting techniques to create many layers brimming with precise details. The masterful craftsmanship is juxtaposed with more random (but yet, still controlled) paint splashes and thick brush strokes. Pihl relates that these contradictions create an edge to his own creative process, which he perceives as challenges for him to solve. So his works are as much a journey for the artist as they become for the viewer later on.
A painting is an object, aware of its own being in the world, but it is still also a window to the world - or in this case worlds. The word, “window” itself stems from the danish word, “vindue”, which the vikings brought to England. “Vindue” derived from “vindauge”, which means wind eye, or an eye in the roof. The paintings are an overview, here meant not on a hierarchical manner - that one view is above another - but rather, like looking at a map in order to find one’s way around in the world, a world that contains infinite ideas, facets and possibilities. Everything is connected, like in a huge, living organism. Hurt one detail, and the whole organism falls apart. There are a lot of bridges in Jonas Pihl’s work - rather than walls.