Dark and tender.
I find learning through observation fun. It’s almost exciting to think that any artwork might take a different form, and detach what I thought might have been revealed to me upon my first glimpse. This is what this weekend’s column is about: an artist that I at first thought was just okay, but nothing out of the ordinary. Then slowly, one gaze after the other, I learned to love and be thrilled about, in expectation of more of his refreshing and unique work.
An almost 3-dimensional feel
So what makes Jonas Löfgren’s work design? A brief look at his portfolio is likely to bring about a very intriguing answer to a somewhat irritating question. It’s true that he is an artist, if anything. A loophole I have recently found in the frail distinction between art and design is that well composed art shares some affinity with the dominant, pragmatic side of design. To the contrary, some might question Löfgren’s use of (mostly) graphite and watercolor in his work. That is, however, a rather fruitful use of media a lot of us got to experiment with (and personally resent).
Lula Magazine in collaboration with the artist.
Löfgren’s work has been featured in Lula, and blended in quite perfectly with the general vibe of the magazine. His work has some darkness to it that I admire; some might even refer to it as gothic or morbid—remarks that I am also likely to embrace. There certainly is something a bit intimidating about black and white art, but for now I willingly let myself be evoked by it. Visit his site here.
And yes, we have some Mary Kate for you
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