Simon Gorm Andersen’s artistic work is often made up by a series of paintings. The task revolves around a pursuit of the alchemic potential located in the scope of painterly impasto.
Gorm Andersen approaches the canvas surface with some degree of certainty. He keeps the artistic process focused and open through the strategy of learning-by-doing, which brings the painting towards its undetermined endpoint.
Behind every finished painting there is a performative searching, a process that for Gorm Andersen carries a value of its own. He traces a possible starting point to the longing for an understanding of the landscape as an idea, and that through painting use it as a verb – to landscape.
Mental landscapes; fragments of gestures and colour fields, linear repetitions and sudden ruptures. The painterly components relate to themselves and to each other, like the notes of a score or the clauses of poetry. Through the thick painterly grease a universe of private linguistics emerge.
