Picture Phosphorescence, the Pure, Again (2015)
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Ida Ekblad’s first work for Counter Editions combines two of her most recognisable motifs, aliens and gateways, as well as the puff paste also frequently found in her paintings. Utilising the inherent block-building process of screen printing, Ekblad has created a print of competing colours and surfaces. Using a special additive, the final screened layer of white ink used for the graffiti figures and tag-like calligraphy is passed under a special heater, causing the ink to rise. Though hesitant to label her work as distinctly Norwegian, Ekblad is inevitably influenced by the landscape and especially the water in one way at least. “I love blues. It’s almost a joke in Norway. Some art students went to the art supply shop, and there was no more blue. They were like, ‘Why does Ida buy all the blue paint?’”.
'Picture Phosphorescence, the Pure, Again' is produced in partnership with the international quartely of arts and culture, Kaleidscope.
Ida Ekblad's artistic practice moves fluidly through painting, sculpture, peformance and poetry. Her sculptures are produced from the chance materials sourced on her regular scrap-hunting missions whilst away travelling or at home in her native Oslo. A series of gates she made were constructed out of fragments of metal scrap welded together, "much in the same manner as connecting words and sentences in a poem". Characterised by an intense use of colour, Ekblad's expressive paintings are also created with offbeat methods such as running the paint-loaded wheels of a shopping cart over a canvas. The forms and gestures found in her work derive from a wide variety of inspirations and art historical references, such as CoBrA, Situationism and Abstract Expressionism but also pop cultural aesthetics like graffiti or cartoon that indicate Ekblad's genre-crossing approach.