Alfred Boman

* 1981 in Lulea, SWE
lives in Stockholm

Alfred Boman’s for the most part large paintings are created in an elaborate process of compilation, layering, and masking. He combines oil and waterbased paintings on various, in some cases printed textiles as canvases. Based on a sort of automatic drawing, a linear matrix of shapes emerges in the picture. Despite their rich, up to 20-fold layering, the pictures refuse to create any sense of depth in terms of both form and content. Instead the paintings operate strictly on the surface, each color field revealing in each case only the respectively uppermost layer of paint, as if they were being studied through a keyhole. In search of the “as yet unseen”, Boman combines a “symphony” of extreme color contrasts with the amalgam of various chemical processes that cannot be planned. In his painting he thus strictly adheres to the principle of chance.

He takes his images from video games, restaurant interiors, psychedelia, tribal tattoos and kitschy souvenir-style non-western folk art. Whereas “Larger world/Merchant hag” (2014) is still a classic mural, “Bat-Pit” (2014) attest to the most recent trend in his painting. During a stay in Mexico, metal sculptures on the side of the road destined for disposal inspired him to work metal artistically. In these latest works the shapes drawn in his pictures are created directly in metal, such that he transforms the two-dimensional paintings at the same time into a sculpture, metal stands and canvasses on both sides form a unit.

Nassauischer Kunstverein Wiesbaden

Bat-Pit, 2014
Acrylic, spray-paint, enamel-varnish,