Saga V, 2009
  • Saga V, 2009
Watching Humans Watching I, 2008
  • Watching Humans Watching I, 2008
Saga XI, 2011
  • Saga XI, 2011
Watching Humans Watching V, 2008
  • Watching Humans Watching V, 2008
Saga XIII, 2011
  • Saga XIII, 2011
Saga XXII, 2011
  • Saga XXII, 2011
Watching Humans Watching XIX, 2010
  • Watching Humans Watching XIX, 2010
Watching Humans Watching VI, 2008
  • Watching Humans Watching VI, 2008
Watching Humans Watching XIV, 2010
  • Watching Humans Watching XIV, 2010
Watching Humans Watching XX, 2010
  • Watching Humans Watching XX, 2010
Saga IX, 2010
  • Saga IX, 2010
Watching Humans Watching XXXII, 2010
  • Watching Humans Watching XXXII, 2010
Saga VIII, 2011
  • Saga VIII, 2011
SAGA I, 2009
  • SAGA I, 2009
Watching Humans Watching III, 2008
  • Watching Humans Watching III, 2008
Watching Humans Watching VIII, 2008
  • Watching Humans Watching VIII, 2008

 

Human experience lives in the supranatural space between solid realities and phantasmic imaginings. Mind and eye vie, play, and ultimately blur as matter turns to memory, and memory affects encounters. These are the transformative moments when fantasy magics the tangible into the metaphysical.

A surprise of great beauty; an exhilarating, fearful moment; rapt awe; and a happy conversation between a human and nature is revealed in sweeping tableaus, lush color fields, and small, but undeniably engaged individuals, couples, and groups. Whether deeply involved in the conversation, or expectant that it will happen, the subjects bare a desire for this connection.

Patterns in the actions and aesthetics of Lindergård and Holmström´s wayfarers reinforce these moments of fundamental rapport. Subconsciously blending with their new environments, many wear the colors that surround them. Others wander off alone, freezing in the face of a handsome view or inviting curiosity. Some gather together, forming constellations that map topographies. These habits, set in big landscapes with radiant color schemes, iconize the subjects as testaments to primal bonds.

Lindergård and Holmström give us more than observation of experience – they seem to divulge what, and how, their subjects see. Those images without people might embody individual impressions – micro views of realities extended and accentuated. A deep-red rock oozes fluorescent sherbet, or the remnant goo of melted sun. Icy pink stalactites stand guard at the entrance of a Yeti’s playfort, or double as the maw of some ancient sea monster. As wonder overcomes time and place, Lindergård and Holmström invoke the abiding mysticism inspired by human-nature relationships.

From Of Great Wonder by Alexxa Gotthardt