Tiger på Mols

 

 

01. Grinende tiger. 1. 38 x 46 cm. 2014.
01. Grinende tiger. 1. 38 x 46 cm. 2014.

 

02. Hvid tiger. 38 x 46 cm. 2014.
02. Hvid tiger. 38 x 46 cm. 2014.

 

03. Tigerportræt. 38 x 46 cm. 2014.
03. Tigerportræt. 38 x 46 cm. 2014.

 

04. Tiger i vildnis. 38 x 46 cm. 2014.
04. Tiger i vildnis. 38 x 46 cm. 2014.

 

05. Hvilende tige. 38 x 46 cm. 2014.
05. Hvilende tige. 38 x 46 cm. 2014.

 

06. Roaring tiger. 38 x 46 cm. 2014.
06. Roaring tiger. 38 x 46 cm. 2014.

 

07. Ventende tiger. 38 x 46 cm. 2014.
07. Ventende tiger. 38 x 46 cm. 2014.

 

08. Hvid tigerportræt. 38 x 46 cm. 2014.
08. Hvid tigerportræt. 38 x 46 cm. 2014.

 

09. Tigerprofil. 38 x 46 cm. 2014.
09. Tigerprofil. 38 x 46 cm. 2014.

 

10. Grøn tiger. 38 x 46 cm. 2014.
10. Grøn tiger. 38 x 46 cm. 2014.

 

Jeg har lige lavet 10 billeder, der alle måler 38×46 cm, færdig. Hvordan jeg gjorde det, ved jeg ikke, men lige pludselig syntes jeg, at nu var de gået op, og at jeg ville ødelægge alt det fine, der var fremkommet, hvis jeg malede videre på dem.
Jeg begyndte på dem om mandagen for fjorten dage siden, og i dag, søndag, synes jeg, de er færdige. De er meget levende, og er bare malet, uden tanke om at de skulle blive færdige. Hvis jeg tænkte, at nu skulle de rettes ind og korrigeres, ville det være forkert, for så ville de blive til noget, jeg kender i forvejen, og det ville svække og dræbe den spontane malerglæde, der er i dem. De peger fremad, og skal bruges til at skabe nye landevindninger i de næste billeder.

Det er tigerhoveder, og det stiller nu engang nogle krav om, at det skal ligne. Når man maler en hest, så skal det vel også ligne en hest – Men således tænker jeg ikke, når jeg maler. Når jeg maler med mine farver, vil de altid danne en farveform, selvom det bare er et penselstrøg.

Når jeg kun tænker i farver og farveklange, er det fordi jeg ved, at disse før eller siden vil danne et mønster, der vil forestille noget til sidst – For mig bliver det altid en tiger. Hvorfor ved jeg ikke. I disse 10 tigerhoveder har mine mange penselstrøg med farver dannet striber, og været med til at give tigerens hoved en maskekarakter og dobbelttydighed. De har dannet et netværk af mønster som en arabesk.

De 10 tigerbilleder har hver dannet en grundklang inspireret af de smukkeste farver man finder ude i det tidlige forår på Mols.

Titlerne til billederne tænkte jeg allerede på i begyndelsen, og dem har jeg kunne fastholde, da der ikke er gået så lang tid fra start til slut. Hvis man begynder kronologisk, så kalder jeg det øverste til venstre for: Nr.1. Grinende tiger. Nr.2. Hvid tiger. Nr.3. Tigerportræt. Nr.4. Tiger i vildnis. Nr. 5. Hvilende tiger. Nr.6. Roaring tiger. Nr. 7. Ventende tiger. Nr. 8. Gul tiger. Nr. 9. Tigerprofil. og nederst til højre, Nr. 10. Grøn tiger.

Reklamer

THE FOUR LIMESTONE–TIGERS

I just finished four lithography, which I call THE FOUR LIMESTONE–TIGERS, because it is a method for printing using a stone (lithographic limestone 🙂

TIGER 1. 43×54 cm. 2012

 

TIGER 2. 54×38 cm. 2012

 

 

TIGER 3.   43×54 cm. 2012

 

 

TIGER 4. 54×38 cm. 2012

 

 

THE FOUR LIMESTONE–TIGERS

 

www.uffechristoffersen.net

Rats in the basement

RAT

I live in an old French farmhouse. It is at least 600 sq. metres. The house has three storeys. The top floor is living quarters. The bottom one, the cellar, consists of rooms with vaulted ceilings intended for animals.
I don’t have any sheep or goats. But in the rooms I kept hay for my horse and vegetables/oats for the rest of the family.
Once when we got a load of hay in the summer it was good and dry. Everything was idyllic. 

But when the autumn approached, we discovered that the load of hay had been full of rats. Lots of rats. Big rats. 

The lower storey of the house had become an eldorado for rats. For there was food enough. My family had expanded. It was quite a task to go down to fetch oats or potatoes while it teemed with big squeaking  brown rats, which ran up the panelling and into the nooks and crannies there are in thick walls consisting of stones from the fields.
The sound of scraping claws inside the walls was terrible because the rats were able to climb up inside the walls in the whole house, so that you could hear them everywhere. However they could not get into the living rooms.  Whether it was due to discretion or weakness I cannot be sure. But I felt that I was living in a rats’ nest. The noise was bad enough.
The first thing I did was remove all the food from the lower storey and take the hay out into the fields. I still remember the feeling of having six bales of hay in the car, knowing that they contained rats’ nests and rats. I could feel their beady eyes on the back of my neck while I drove out.
Rat traps and poison were laid out. A week later there was peace and quiet again. Almost. For of course I had forgotten one red cabbage. I could see that something was still gnawing at it. I caught sight of the miscreant – a giant rat. I think we stared at each other for five minutes before I reacted.

I quickly got hold of a trap, put cheese in the trap next to the red cabbage. I could see that it went on eating the red cabbage. The cheese hadn’t been touched.
I put some cheese next to the trap – the cheese disappeared the next day. I put a large red cabbage out. Some serious gnawing was done.
It ate and ate.
All the while the trap remained untouched nearby. The rat was meant to get used to it. I put some chopped cabbage in another trap until it was completely covered. The rat ate some of the cabbage every day.
But gradually there was less and less cabbage. Finally it was all gone. Three days went by. The trap was set up again with a piece of red cabbage in it. The next day a rat was in the trap. 

But to this day I have the feeling that it had cheated me. It had lured one of its cousins into the trap. Because I can still see it, smell it and hear it in my mind.  

It still stares at me challenging me all the time…

My car still smells of pig…

 

Our village lies in an area where there are forests of evergreen oaks and box. They don’t grow very tall, 2-3 metres at most. The area is as big as Zealand, in Denmark, with small villages here and there. They are obviously quite isolated. In the area there are many wild boars, foxes, pheasants and birds of prey. Here they live safe and sound. It is easy to hide. There is peace and quiet.

Sometimes there are many hunters in the area. Especially the wild boars attract their interest. The locals say, “If you run over a wild boar, then it’s a problem, not for the boar but for the driver.”

I know this by bitter experience. My car still smells of pig.

One night I was driving through an isolated area to get home. Quietly and peacefully. But suddenly while I was driving I saw in the headlights that there was a flock of wild boar by the side of the road. At the same moment the great flock leader started to cross the road towards the car at an enormous speed. It all happened so fast that it was impossible to brake or avoid the impact. Then the unavoidable happened. I thundered into this belligerent monster. Its head with the small shining eyes and corner teeth are etched into my memory. But luckily I only hit its rear, which flew up over the radiator and down along the side of the car. The boar was so big that its back was higher than our radiator. The whole of the car’s radiator was crumpled up. Everything happened so suddenly as in an image which had passed the retina in a series of impressions without a conscious reference.

I was paralysed by the situation.

While the boar got up and ran into the forest with the rest of the family, I still sat behind the windscreen in my car with a fervent wish that I could paint myself out of this picture.

www.uffechristoffersen.net

What has a wild tiger got to do with Bach’s music?

Yellow tiger. 114×146 cm. 2012. www.uffechristoffersen.net

Today I am painting a large yellow tiger. The light is good so the brushes are flying. It may have something to do with the music I am listening to: Bach’s Suites for Cello, nos 1, 4 & 5 with Rostropovich. I think with the same strokes as he does when I paint my picture. Powerful and violent strokes. With thick gritty lines. It goes in time with the music. The rhythm keeps its own time. The sound is Bach at his best. 

What does a tiger have to do with Bach’s music? 

Bach is said to have had such a temperament, that people who knew him could relate how they could see a hungry tiger in his eyes when he was composing. A tiger that would break all bounds. It consumed everything it saw, heard and felt. 

In the middle of all that music you could smell raw flesh.

PDF–Catalogue: Three tiger heads

I have just made a PDF-catalogue with my three new big paintings.
I call it “THREE TIGERS HEADS” –or in danish– “Tre Tigerhoveder”.
It is about my latest paintings: About 200 x 200 cm.
With very strong colors, which express the tiger’s temperament 🙂

Tre tigerhoveder. Uffe Stadil Christoffersen 2012

www.uffechristoffersen.net