Kristin Eyfells

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  Painting as Thought is Thought

Being in the presence of Lilla's (her family and friends' nickname for Kristin) calm yet powerful paintings, a viewer's first impression might very well include a strong sense of being subjected to an overly controlled and strong-minded multitude of aesthetic selections. Somewhat paradoxically, however, her paintings are far from being brought about with the aid of any mechanistic or predetermined method. Rather, each entirely momentary "aesthetic selection" comes across as a specific consequence of a lightning-fast and unique act, or, in the spirit of that which Nietzsche succeeded in making us understand: "willing" is not an act like any other.

Thus, without a doubt, viewing the combined strength of a multitude of unique elements in Lilla's paintings reveals to us her ability to take command of this extraordinary instance, and this alone accounts for her uniqueness as an artist.

The general intensity and high caliber of lilla's visual thinking is, perhaps, most strikingly revealed in what might be termed the focal points of every painting in the catalogue: "thinking" eyes. Here we are invited to experience finite compositional resonance or identities or identities that seem to be one with a pictorial plane of singular thickness and unlimited possibilities. These infinitely diverse and aesthetically produced compounds of sensations generate and constitute, along with the materializations of Lilla's more comprehensive feelings for different personalities, the overall substance contained in her large series of paintings entitled "Famous Faces."

The discovering of the immanent invisible content of Lilla's paintings goes a long way in convincing us that Foucault's memorable phrase "fiction consists not in showing the invisible, but in showing the extent to which the invisibility of the visible is invisible" turns out to be true: we are witnessing the presence of sensations expressive of unlimited versions of human character and uniqueness. Lilla has been acclaimed as a "multi-faceted woman". However flattering this assertion may be, the fact remains that, as all exceptionally original and individualistic artists, she has an extraordinary strong command of "only" singular, yet double-faceted, compositional powers: Mind and Matter as distinct yet inseparable, eternally reversionary, Natures.

Here again, with Nietzsche's help, we understand Lilla's expressive, critical and creative command of multiple yet unitary powers: thought is creation and painting is thought.

Johann Eyfells

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