Exhibition poster by Swedish artist Krister Follin 1980

Beautiful exhibition poster by artist Krister Follin (1936 - 2004) at Galerie Leger in 1984 Many of his works include the National Museum in Stockholm, the Lundensias Art Association in Lund, the Lund University Library, the Gothenburg Museum, the Eskilstuna Museum, and the Malmo State Library. Born in Stockholm in 1936, he studied in Copenhagen, then in Stockholm and Rome. Many etus etu-et-sets of these years, starting in 1958, show a solid academic background. Already then, the interest in graphic techniques seems to have aroused his passion. He found no obvious influence of classical modern art, but rather the influence of his northern environment, for example Edward Munch. From the beginning, one discerns his particular talent for the composition of extreme and partly abstract thoughts. The meeting with the slightly older American artist, Harvey Cropper, a teacher in Stockholm in 1962-64 had important consequences. After Follin worked from the beginning, figuratively and content, a transformation into a rather philosophical worldview, which is also strongly influenced by Asian influences. As a Japanese master, he now signs his works with a star. The sand begins to play the role of material, shape and image for him. On the other hand, we could also talk about fragmentation, the impossibility of describing an "entire" world. The nude studies of 1982 appear in the form of fragmentary notes, but possess a more calligraphic beauty. The graceful content disappears in favor of rhythmic calligraphic events, which have the character of musical variations. His penchant for music is well known, especially for jazz. As note writing appears to the ignorant, so is his character-shaped calligraphic features: as a secret writing that we simply cannot decode. His art tragically reflects an example of inappropriate individual development in which the loss of a universally valid artistic standard leads to an extremely cultivated enigma, which cannot conceal the first signs of degradation. Probably in his last years of life, he ceased, in whole or in part, his artistic activities. It is thought that the means of artistic expression have dissolved to the point of being able to express themselves correctly only in immobility. Evidence from the exhibitions shows that, during his first and best years, Krister Follin was well integrated into Nordic artistic circles and was in constant contact with important contemporary artists and galleries. His genius was recognized, but his unstable, provocative and mentally ill life clearly prevented a real breakthrough.