Presse / info


Torben Kaas - Presse info


Torben Kaas ( F. 1960 )

Mail : torbenkaas@torbenkaas.dk

Tlf. : 28998200

Web : torbenkaas.dk

Facebook - Torben Kaas - Kunst

Instagram - torben.kaas.art


Repræsenteret hos :

Galleri Møller i Mejeriet

Kirke Stillinge - 4200 Slagelse - Danmark


Galleri Kaas 

Bisserup - 4342 Rude - Danmark

 

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Kommende speciel udstillinger :

Marts / April / Maj 2022 - Galleri Kordel - Kalundborg - 4400 ( DK )

Juni 2022 - Galleri Arta22 - Nykøbing S - 4500 ( DK )

Juni 2022 - Galleri Møller i Mejeriet - Kirke Stillinge - 4200 ( DK )

November / December 2022 - Bisserup kunstforening - Bisserup ( DK )

December / Januar 2022 - Foss Kunstforening - Hillerød - 3400 ( DK )


Strandhuse

Jeg bor og maler i Bisserup. En lille idyllisk enklave på den vestsjællandske kyst, med en forunderlig, magisk stoflighed.

I området lyder stadig toner fra en tid svunden tid som fiskersamfund. Huse og gårde er født her, og er blevet en del af et poetisk sceneri på strandengen hvor jeg ofte går.


Vinden er min ven

når den smyger sig blidt omkring mig

og hvisker i mine ører.

Lyset er min ven

når det rammer den brede horisont

og reflekterer i de gamle huse.

Stilheden er min ven

når den favner de lysende aks på strandengen

og lægger sig over det blanke vand

på en tidlig sommermorgen.

Farven er min ven

når den er fugtig og blå

i den kølige morgendis

eller varm og gylden

når den rammer tage og trætoppe


Jeg er vel abstrakt naturalist, hvis nogen spørger. Men egentlig bryder jeg mig ikke om ismer og kunstretninger. Jeg maler mine billeder


Et maleri er længe under vejs. Det er processen som har den virkelige kvalitet og tyngde. Det er her udfordringen ligger. For når et maleri bliver skabt, kræver det største imødekommenhed og vilje til at modtage, og give. Jeg har igennem årene lært at lytte til billedet. Jeg tænker ikke så meget på resultatet undervejs. Jeg tror jeg ved når det er færdigt. Og jeg ved i særdeleshed når det ikke er færdigt. Min intuition er et vigtigt redskab til at afkode billedets mission og status, men også til at føre mig igennem processen.


Efterår og vinter er mine foretrukne perioder når det handler om at producere billeder. Vinden har en bestemt tone. Det samme har himlen og regnen. Disse årstiders toner passer perfekt til min pallet. Lyset spiller en stor rolle. Lyset åbner og lukker. Uden lys, ingen skygge. Lyset skaber de kontraster som giver liv og dybde, og efterlader et stærkt ekspressionistisk udtryk.
Når jeg maler er det et personligt anliggende og jeg er særdeles ydmyg omkring selve processen. Jeg ved at noget betydningsfuldt er på spil hver gang.
Og det betydningsfulde ligger i at jeg bevæger mig i ukendt område, et ukendt land, hvor intet i realiteten kan forudsiges. Og det skal det heller ikke. Jeg dufter til en flig af essensen af selve livshandlingen. Jeg er og jeg skaber.

 


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Tom Jørgensen, kunstanmelder på Jyllands Posten, redaktør af Danmarks førende kunsttidsskrift Kunstavisen skriver om Torben Kaas´ billedverden :

Torben Kaas

Nordlys

- Lyset synes næsten at komme indefra - 

Lyset

Man aner motivet: et eller flere små huse. Gamle huse, måske med stråtag. Antydningen af et landskab, bakker, klitter, en sø, og så ellers himlen foroven.

Det er dog ikke husene eller landskabet, der er Torben Kaas´ hovedmotiv. Det er lyset selv. Lyset, der indhyller alt i et slør af farve, udvisker konturerne og får hele billedet til at vibrere, som var det et fatamorgana i en ørken.

 

Intuitivt og ekspressivt maleri

Teknikken og optikken minder om impressionisternes med den vigtige forskel, at disse brugte små kommalignende penselstrøg, anvendte rene ublandede farver og fokuserede al deres energi på præcist at fange sollyset på det og det tidspunkt af døgnet og på den bestemte tid af året. Derfor føles deres malerier også realistiske. Som noget, der er set, observeret og gengivet på en så objektiv måde som muligt.

Sådan er det ikke med Torben Kaas´ malerier. Han arbejder med brede penselstrøg, voldsommere kontraster mellem lys og skygge og med ridser og hakker i malingen efterladende en grovere tekstur enkelte steder. Resultatet er et mere dramatisk, intuitivt og ekspressivt maleri end impressionisternes.

 

Spirituel oplevelse

Det føles, som om Torben Kaas overskrider naturalismen især i lys/skygge-virkningerne. Lyset synes magisk, og når han lader en skakt af hvide og lyseblå toner stråle ned over den mørke jord og den faste materie, er virkningen som i en skabelsesberetning: det guddommelige skær, der opløser Kaos på den første dag.

Man kan kalde denne oplevelse spirituel, religiøs, magisk eller, hvad man nu vil. Hovedsagen er, at vi alle har haft den: betragtende en specielt pragtfuld solnedgang, et bestemt lysskær hvilende over landskabet eller solens gule stråler, der pludselig bryder igennem uvejrsskyerne. Selv for en højteknologisk sjæl i det 21. århundrede er sådanne oplevelser stadig bjergtagende.

 

Universelle malerier

Det gør derfor heller ikke så meget, at vi ikke præcist kan identificere Torben Kaas´ geografiske udgangspunkt. Det kan være alle steder, selvom man nok aner, at vi er på den nordlige halvkugle og, farverne taget i betragtning, i det Skandinavien, vi deler som levested med kunstneren. Pointen er bare, at dette er universelle malerier med universelle referencer.

Når man ser på Torben Kaas´ malerier, genoplever man de magiske øjeblikke, man selv har haft i naturen og landskabet. Man digter med, man husker, og man glædes

 


 



Torben Kaas - Press - info


Torben Kaas ( B. 1960 )

Mail : torbenkaas@torbenkaas.dk

Tlf. : 28998200

Web : torbenkaas.dk

Facebook - Torben Kaas - Kunst

Instagram - torben.kaas.art

- The light - 

- rustic nordic art - I travel with the scandinavian spirit -


On the west side of Sealand I live and paint in Bisserup, a small idyllic enclave which has a quaint magical texture and warmth, raw nature, beach, dock and woodlands. The area still blows notes from bygone times of a community of fishermen and the old houses and farms bear strong poetic marks. I portray these houses and farms in my paintings. The houses themselves are framing the dramas and stories that are just forgotten or suppressed, or resting, waiting to be brought back to life.


I do not care for Isms and tendencies in art. You paint what you are. That is it, I guess when authenticity needs somewhere to stay.

 

A painting is long in the making. It is the process itself having true quality and substance. It is here the challenge lies, as it requires great responsiveness, and the will to receive and give creating a painting. Through the years I have learned to listen to the painting. I do not consider the result, I believe I know when it is done and certainly when it is not. My intuition is an important tool in decoding the mission and status of the work, but also in leading me through the process.


Autumn and winter are my preferred seasons to do my paintings. The wind has a certain tone as has the sky and the rain. The sounds of these seasons fit my palette perfectly. The light has a great role. The light opens and shuts down. No light, no shadows. The light creates the contrast that gives life and depth and leaves a strong intense expression.


When I paint, it is personal and I feel most humble during the process itself. I know something significant is at stake every time. The significance is in the fact that I am entering unknown territory, an unknown area, where nothing is predictable, as it should not be. I smell a tiny leaf of life’s essence itself. I am and I create.


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Tom Jørgensen art critic at Jyllandsposten, editor of the leading art magazine Kunstavisen says about the images in Torben Kaas’ world:

 

-A Winter’s Tale-

 

The light almost seems to come from within. Intense, concentrated and with a dense atmosphere. The style is lyrical, abstract and a distinct Nordic color palette.

You may start in to locations describing the paintings .of Torben Kaas.

 

Firstly, let us start with the weather and as Torben Kaas mostly paints autumn- and winter sceneries it almost speaks for itself.

The autumn foliage with its yellow and red colours most of us agree on is pretty and beautiful, but when the leaves fall from the trees, undoubtedly many of us will agree with Henrik Nordstrand saying that “The year has 16 months: November, December, January, February, March, April, May, June, July, August, September, October, November, November, November, November.” It is difficult not to become depressed about all the greyness hovering over a Danish winter, with heavy clouds and sallow haze without the snow and high skies that could add a bit of colour to it all. Well, except for Torben Kaas. His paintings are saturated with colour and glow, a softly modelled Oluf Høst light, consisting almost entirely of earth colours: golden ochre, orange yellow, Italien red, burnt umbra, turquoise green and cobalt blue.

 

With Torben the greyness is broken and you start doubting if all really is as grey as you imagine. Perhaps it is only our minds and winter melancholy playing a trick on us. And yes, it is not grey all the time. The light is constantly changing. And having Torben Kass’ paintings in the back of your mind, you actually start looking at the Danish winter world with his eyes. See the incredible variation of colour, not only in the sky, but in the vegetation, on the ground and the facades of the houses, when shadows in a flood of colours hit the bricks or even the concrete of seventies high rise blocks.

 

You just have to look and for a while forget the obvious abundance of bright colours in Spain and Italy for the benefit of the discrete and subtle colour tones of the North. For they are what we see with Torben Kaas. Beautiful colours in a modest and anything but an intrusive manner. Colours for connoisseurs which I may add, we may all become if only we genuinely look and feel.

 

Secondly, the approach to Torben Kaas’ paintings is the photograph.

All of his paintings could actually be based on his favourite motives: the house, the beaches and meadows around his residence in the southwest of Sealand. But whereas a good photograph focuses attention on every detail, it is as if focus slowly disappears from his paintings. What we get instead is a diffuse light masking the motive and in a way making it blurred. Torben Kaas, however, engages in the indistinctness thus celebrating light itself. You may say that the diffuse and soft light acts as an equal partner to the light. Whereas a photograph can only catch what a cold and objective camera lens detect, a painting can show the world how we perceive it with all of our awareness including sound, smell and recollection.

 

In Torben Kaas paintings we feel time, the gentle breeze, the sparkling white frost beneath our feet, the slow seeping of rain and the sudden ray of sun setting the yellow brown thatched roof on fire. And the light. Above all, we  feel the light. The forever changeable, soft, nestling, subtle Nordic light.


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The paintings


On the west side of Sealand I live and paint in Bisserup, a small idyllic enclave which has a quaint magical texture and warmth, raw nature, beach, dock and woodlands. The area still blows notes from bygone times of a community of fishermen and the old houses and farms bear strong poetic marks. I portray these houses and farms in my paintings. The houses themselves are framing the dramas and stories that are just forgotten or suppressed, or resting, waiting to be brought back to life.


 

The process


A painting is long in the making. It is the process itself having true quality and substance. It is here the challenge lies, as it requires great responsiveness, and the will to receive and give creating a painting. Through the years I have learned to listen to the painting. I do not consider the result, I believe I know when it is done and certainly when it is not. My intuition is an important tool in decoding the mission and status of the work, but also in leading me through the process.


Autumn and winter are my preferred seasons to do my paintings. The wind has a certain tone as has the sky and the rain. The sounds of these seasons fit my palette perfectly. The light has a great role. The light opens and shuts down. No light, no shadows. The light creates the contrast that gives life and depth and leaves a strong intense expression.


When I paint, it is personal and I feel most humble during the process itself. I know something significant is at stake every time. The significance is in the fact that I am entering unknown territory, an unknown area, where nothing is predictable, as it should not be. I smell a tiny leaf of life’s essence itself. I am and I create.