L.D. BJORN

“Sensory painting”

Preface by Guy Dornand

“The artwork,” wrote Emile Zola about MANET, “is Nature viewed through temperament.” Some time later, VAN GOGH stated that ART “was nature plus man”… Nature, man, temperament, these are the component of an artwork, provided that is added understanding and knowledge so that it can fully be realized.

To find these components reunited, combined, in an artwork, if not common, is not rare: every period in the art history included a number of temperaments, through which our species has been able to convey our universe, our life, interpretations and noteworthy representations…

… He is BJORN, as proclaimed by his signature, drawn on each of his works. But even in cursive, their presence revealed in him the master, the virtuoso of an exceptional material, a substance that belonged only to him. And it is already clear that he has within him a technician of paste, binders, pigments ; in short, a chemist of color.

How does this mind, full of knowledge based on his vast scientific training, how does this instinctive painter perceive the creation of art? … He assigns to it two “prerequisites”: first a personal vision of the universe and of the artist’s intimate microcosm. Second, the choice and the search for the most appropriate material to express his sensibility and to depict the subject he proposes to create.

Whether with non-figurative (commonly referred to as “abstract”) or figurative works, that are even extremely true to the reality we can all see, L.D. BJORN always presents himself, concerned with evoking, through the relationship between planes, tones et nuances or linear rhythms, as if beyond the representation of the outside world, the entire secret, hidden meaning of his subject.