Submission
Alfred Boman

Splinter of Neglect

In Alfred Boman's second solo exhibition, Splinter of Neglect, at Gether Contemporary Boman once again unfolds his intense surreal pictorial universe, which moves forth and back between a recognizable reality and an unconscious dream world. The new line of works consist of wild constructions of paint, geometric figures, and raw canvas, whose subject lays in the intersection of figuration and abstraction. The paintings mark an experimental and rebellious artistic practice, where the outcome of the process is something new. Untamed and rebellious imagery that cannot be categorized, but draws back to the portrayal of fantasy, dreams, madness, and absurdities of Surrealism.  


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In Alfred Boman’s second solo exhibition, Splinter of Neglect, at Gether Contemporary Boman once again unfolds his intense surreal pictorial universe, which moves forth and back between a recognizable reality and an unconscious dream world. The new line of works consist of wild constructions of paint, geometric figures, and raw canvas, whose subject lays in the intersection of figuration and abstraction. The paintings mark an experimental and rebellious artistic practice, where the outcome of the process is something new. Untamed and rebellious imagery that cannot be categorized, but draws back to the portrayal of fantasy, dreams, madness, and absurdities of Surrealism.  

In line with German painters such as Sigmar Polke, Charline Von Heyl, and Albert Oehlens’ quest to break free from a categorization of the traditional painting, Boman seeks to reinvent the concept of painting in an investigation of compositional layers and spatial ambiguities. The construction of the paintings varies, but common is an order of layers and geometric spaces, where rhythmic abstract repetitions and figurative motifs are portrayed in an expressive color universe. Through historical references, such as Byzantine church mosaics, harlequin patterns occupied by large impenetrable walls, medieval interpretations, and amorphous creatures, Boman seeks to create new imagery that simultaneously points to the present and the future by looking into the past.

I don’t believe in re-doing anything from art history. We need to make images for this time for its own reasons – not for nostalgia. – Alfred Boman

The new line of paintings repeats a semi-abstract motif. A motif that originates from one of Boman’s old digital sketches, which for Boman himself is reminiscent of a group of amorphous ghost-like figures with pointed bodies and round tops. The works represent a subconscious stream of thoughts, where the fusion of recognizable symbols and wild abstractions creates new imagery that exists between the physical, the spiritual, the conscious, and the subconscious. 

Alfred Boman (b. 1981, Luleå, Sweden) lives and works in Stockholm, Sweden. Boman received his MFA at HFBK Städelschule in Frankfurt, Germany, and studied Art History and Fine Arts at the University of Gothenburg, Sweden. He has exhibited at Moderna Museet, Stockholm, Sweden; Prism, Los Angeles, USA; Johan Berggren Gallery, Malmö, Sweden; Fluxia, Milan, Italy; Union Pacific, London, UK; and Ibid Projects/Gallery Exit, Hong Kong. Alfred Boman’s works can be seen in the collection of Nordic Contemporary Art Collection amongst others.