Page 61 - Studio International - November 1966

white, non-figurative pictures of ten years ago. He has
combined their inherent, cool constructivism with ex-
periences of a warm sensuality which is given completely
free rein in the encounter with easily-moulded concrete
and the soft surfaces obtainable when it is cast in plastic
or rubber moulds. I do not know of any artist who has
been able to organize his work so uncompromisingly that
it fuses so completely with his original intuition. A house
facade by Lars Englund is just as much a part of himself
as one of his varnish paintings on film.
In 011e Angkvist's paintings we can still see that he
obviously has his roots in Abstract Expressionism. He is
one of the Swedish artists who is closest to American
action painting in his method of working. Statements by
him closely resemble Pollock's way of talking about his
experience of his own paintings. But 011e Angkvist has at
the same time tried to free himself from pure abstraction
and to create new meanings in his paintings. In the pro-
cess, however, he has not been above introducing literary
connotations, in fact 'writing' his pictures. There is
nothing 'informal' about his attitude towards these
themes, nevertheless. By providing the dumb-bell in
Dumb-Bell Story with a very arbitrary meaning, he creates
around his object a whole world whose very arbitrari-
ness tends towards the absurd.
Four years ago, Sigvard Olsson came to the Royal
Academy in Stockholm from the Slade School. In his
luggage he had some large canvases painted in strident
colours depicting events on the football-ground, the race-

Lage Lindell
Figure Composition (detail)
1965-6
79 3/4 x 119 1/8 in.