Mette Dyrberg Curator, Skive Museum of Art, 2006  

Square landscapes by Henrik Hadsund
Cosmic landscapes. Elevated horizon. Nature’s elements cut to the bone.


Henrik Hadsund celebrates his 50th birthday this year and has painted the half of his life (half of those years?). The occasion will be marked with three exhibitions during the year, the first at Bjerre Keramik near Struer. It’s not a retrospective exhibition – only new works will be on show. In addition there is a good small square catalogue, 15 x15 cm, with reproductions of the works along with five short texts about the artist.

At first glance Henrik Hadsund’s paintings are exceedingly simple. Areas of pure colour, simple composition. But if one pauses and allows each pictures a little time, one discovers that the areas of apparently pure col-our are far from that. For example an area of yellow can vary from a cold lemon yellow to a warm golden yellow running to orange. And one spots the lines that create the rhythm of the landscape are sweeping, soft, poetical. Around the horizon the blue, blue (deep?) colour of the sea can almost appear to vibrate with life.

Henrik Hadsund’s paintings are created with oil-crayons on paper. No brushes or turpentine here. To paint a large painting (1 x 1 meter) with oil-crayons is an impressive physical achievement, especially if the colour is meant to cover the paper 100%. And it is meant to. The picture is totally saturated, packed (overflowing, crammed?) with colour.

 

The horizon is, of course, the most important line. The bottom half or third, comprising dry land, is generally (usually, prevailingly, ordinarily?) divided into two to three areas of colour. Downward and upward lines as-sume hills and dales. The transition from one area to another can be hard or soft.

Since 1999 Henrik Hadsund has by and large only produced works that are square. The pictures do not have the same depth as for example Niels Lergaard’s pictures have, but they operate on the surface. (fungerer I fladen) As Tom Jørgensen describes it in a text in the catalogue the strange thing about Henrik Hadsund’s pictures is that they do the opposite of going in depth; they rise from the paper out towards the beholder. This happens because there is an immense amount of energy in the pictures. An energy resulting from the oil-crayon technique that can be seen as small almost imperceptible vibrations; a trail of movement from the hand executing the work with the oil-crayon.

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