Thorbjørn Bechmann Danish, b. 1966

Thorbjørn Bechmann (1966) lives and works in Copenhagen. Bechmann's process-oriented paintings are layered with a multitude of shades, hues and shadows. The shimmering, luminous quality of Bechmann's work sits comfortably within the artistic tradition the Sublime, manifested in the context of contemporary painting. 

These paintings are created through unrestrained action and intuitive freedom, allowing gravity, gesture and medium to work together harmoniously. Painted flat on the ground, solvent-diluted oil paint is allowed to flow freely, yet is harnessed, to an extent, by the artist's chosen placement of colour and form. 

Bechmann was educated at the Royal Danish Academi of the Arts. Besides his work as an artist, he has an extensive curatorial practice. He has exhibited in Denmark, Germany, Istanbul and Japan and is represented in both public and private collections, including the Danish Arts Foundation. One of his most recent exhibitions "Constant Negotiation", 2019, was rewarded by the Danish Arts Foundation for its radical investigation of a gesture-based painting.



On my Paintings By Thorbjørn Bechmann, 2019

None uf os can ever regain the innocence of experience we knew before art theory. When one did not ask what an artwork said, but experienced what it did.

Today, the idea of an artwork is deeply rooted in the conceptual. We look for the IDEA behind the artwork. And this ”BEHIND” may be a problem. Does that not suggest that we are NOT looking at the artwork? I would like to suggest that looking for interpretation is looking for something else than the artwork. And when looking for interpretation you need representation. I would like to suggest that representation makes you look for something else than the actual artwork.

Good art ”does something” to us. It makes us nervous, it makes us happy, it drags our attention, it has unheimlichkeit or makes us happy. It does things to us. To interpret, to look for meaning, is a way of taming art. Of getting control and placing art within what we know. To make it no longer do things to us.

I try with my work to be transparent. And by being that, pointing to the luminuous quality of the world. To regain my senses, - and hopefully the senses of the viewer, - to feel more. I cut back content so I can see, not think; Feel, not understand. I would, with my pictures like to suggest an other way of experiencing. An other way of sensing the world.

- This text is loosely based on snippets and loans from essays by Susan Sontag.