” (…) It is a driving force to deceive myself, hunt for something iconic, something that can be left as an important marker of my life. It is important to me that others see me, to feel that I exist. My paintings are a barometer of my life.”
Steinar Jakobsen belongs to a generation of artists, evolved in the second half of 90s, whose main purpose was to cool down the painting, a strong position against the neo-expressionism excesses. He belongs to a generation where the reflection about video technology and its influences on painting was essential, which of course had deep effects on his work.
The technique was and still remains impressive, based on the utilization of ‘wrong’ pictures. Subjects wrongly exposed and random selection are the main tools of his work, in order to build a point of view that is curiously similar to a personal diary in its mighty desire to tell a story: expecially “Black Blogs” (2012), with its subjects absorbed into the black painting and a more gestual relationship with the brush than Jakobsen’s early series.
Flares of known shapes meet the viewer’s look, in a general atmosphere of emptiness and lonelyness, enlighten at times by the hypnotic beam of spotlights. Deleted bodies, intimate looks, the urgency to be saved by the darnkess around.
Staring at Jakobsen’s artworks is similar to walk in an empty street by night, where the sidewalk is illuminated by a street lamp that let us catch some lonely flash of humanity.
“(My art) is very much about people, about recognition in relation to trivial episodes, often I dramatise reality in some subjects. I tell stories – that’s been told many times before. Life and history is made up of the few good stories that will be told again and again, in different ways. It’s about jealousy, love, hate – the classic cliches.”