Interview with Elisabeth Daunelius — Contemporary Art Curator Magazine

Born September 12, 1954 in Klockrike, Sweden. Grew up in Märsta just north of Stockholm. Been living in Uppsala for 35 years and since 10 years back, now living in Gävle.

Studied at Lund University and Stockholm University, graduated in law at Uppsala University. Worked for the past 30 years in various managerial positions within universities as well as in municipal and private operations.

The interest in culture has been around since my childhood. My father was an initiated collector of mainly fine clocks and exclusive glassware. Through my father I was surrounded by history and beautiful things. My mother was politically engaged, why politics often discussed at home.

The urge to express myself with my hands has been a reality since the early childhood. However, I considered not able to draw or paint and have therefore never tried. Instead, I have enjoyed the art of others and tried to support those who can.

In connection with a managerial assignment, I spent a night in a hotel and as usual I was browsing for art online. An artist, Peter Sköld, Artistlab, Stockholm, who offered distance education, showed up. I sent him an email explaining that I never drawn, never painted, but wanted to. He thought we should give it a try. We started from the very beginning – “take a piece of paper, buy a brush and some nice colors”. And so I did.

After recent breast cancer treatment, advanced glaucoma in one eye, and entering life as retired, I can now devote myself to painting. Although my "studio" is only a few square meters, my technique improves and I become clearer to myself in what I find interesting and intruiging in painting.

As I worked my entire life dealing with difficult issues concerning people, I am fascinated by the way we conduct ourselves, inwards och outwards. Difficult issues has it´s own dynamic and is worth examining further. In art as in real life.

When the subject is "wrong", the substrate is "wrong", the medium is "wrong" and the technique is "wrong" - what happens then? How far can I go without falling into my own prejudices about what is "right"? When do my own limitations apply? How do these express themselves and what happens when I learn new things and get past them?

These questions drive me. In ordinary life as well as in painting.

Lines, shapes, color, composition and texture are important elements, but the Process, the interaction between my hands, brain and all that am me - THAT is the creation. I am part of the creative process but perhaps the most fascinating of all is that the viewer becomes part of the creation.

It drives me in painting as well as in ordinary life.

Like the child, I can put what is most important to me in center and reduce what I do not find interesting. I can become obsessed with calculating angles and shapes without bothering about the interaction between them. I sometimes want to abstract until it remains only for the viewer to put their meaning into the picture. I find it interesting to "ruin" an picture in order to challenge myself and see what became instead.

The courage and the strength to dare and to get through is central to me. Not being labeled, being genuine. I want to contribute even if the subject is difficult or inaccessible. Finding a solution and contributing to something that is difficult.

This drives me forward.

Influencers are of course many many. I love Diebenkorn, Rothko, Morris Louis, Kandinsky, Picasso.

I paint in acrylic, oi, watercolor, markers, ink, coal.

I love to work in sand on canvas to make a “between” sculpture and picture.

I also enjoy working in ink on a hard, not absorbent surface. The technique is difficult, but it makes interesting effects. In that technique I have created my changelings, my crossovers, often a butterfly with a human twist.

How would you describe yourself and your artwork?

As of now, I am a bit all over the place. With this in mind, I would say that I am a minimalist, figurative and naïve.

How do you go about beginning a new piece? Do you have an idea already in mind, or do you start working with materials or sketches to find the departure point?

It varies a great deal. Sometimes I have an idea, that I ponder upon for a very long time. Sometimes, but more seldom, I just start and see where it leads me. Sometimes I start, stop, wait, wait a bit longer and then continue.

When do you think your most prolific time of day or week is?

Absolutely not in the morning. Preferably late afternoon and night. However, I also have a family with whom I want to spend time, so I work mostly in afternoons.

What is a barrier you as an artist overcame? Is there anything that enabled you to develop your work as an artist in your life?

The biggest barrier was undoubtedly me. My great family and friends cheered me along!

Did you have an idea of what you wanted to create right from the beginning?

My first aim was to get what I had in my head to get through my fingers on to paper or canvas. I was certain that there was no connection between my mind and my hands. I could see, touch, admire art, but I was unable to create myself.

Therefore, I had a pent-up need for sketching, painting and trying different techniques. And getting nearer and nearer my thoughts and my feelings and see them occur.

What is the meaning or creative inspiration for your work? We’re curious what the narrative or story is to what you are producing?

My life including family, friends, upbringing, experiences from working life is my inspiration. Somehow – I cannot stop being inspired, even if some issues are harder for me than other. Both in the sense that they are hard on my soul and hard to master in creativity.

Besides your artworks, are there any other things in life that your voice as an artist may consider vital or valuable? What makes you joyful and creative, in other words?

My deep interest (and love) for children is always present. My most joyful moments are when my granddaughter wants me to draw for her a prince or princess or a ladybugs home.

I believe that my interest in human psychology and values may be valuable seen from an artistic point of view. I am interested in “solving problems” and believe that difficult issues have its own dynamic worth examining further. In real life as in art. I believe that art constitutes courage.