Här är konsten du inte ska missa
- Carolina Söderholm - Sydsvenskan
Är det en kraftmätning som pågår i Niki Cervins måleri? I
vart fall har våldsamma energier släppts loss. Breda
penselstråk drar upp abstrakta landskap av färg som häver
sig, veckas och störtar samman. Texten till hennes
utställning på Obra talar om scener efter katastrofen, där en
titel som "Katrina" påminner om orkanens förödelse.
Skönheten i de djupröda, rosa och smaragdgröna nyanserna
är påträngande, som ville den på intet sätt nöja sig med det
dämpat smakfulla. Istället väller den fram, otämjd för att
inte säga brutal. Anslaget är på en gång frestande och olycksbådande. Dess slösande tumult får mig att tänka lika
mycket på oron före som efter urladdningen. Det är ett
förlösande måleri att se.
An exhibition in high speed
- Tor Billgren - Sydsvenskan
It was during the selection process for the jury-judged salon Ung Konst (Young Art) 2006 that I first saw the then 21 year old Niki Cervin's paintings. It was like gazing out over a hazy morning landscape through binoculars damaged by the damp. At her first solo exhibition at Estetica 2008, the exquisite vibrancy was complemented with restrained pencil drawings. Early on she displayed a mastery of the monumental and colour-saturated with the same ease as the extremely stripped down. This is still the most convincing debut I have seen, and it was therefore with some excitement that I went to Estetica to reacquaint myself with her art. Perhaps also with some trepidation; as it is not uncommon for an artist to receive recognition for a certain artistic expression early on, and get stuck in one track instead of venturing out on different paths. But so far, these concerns are unwarranted. If the early works embodied a frozen moment in a landscape, then that equilibrium is now disturbed, both in the drawings and in the paintings. Several of the works contain movement, started either by an explosive force, or by gravitation, which draws the components of the motif downwards. The drawings are still simple but, through the way that motion is created, an element of the aesthetics of comics has sneaked in. The exhibition's central point is an enormous painting which was also part of the exhibition "More Passion" at Dunkers Cultural Centre last year. Here, the movement is directed inwards. It is like going at ultra high speed on some sort of car track, in the middle of a race for life or death in a postapocalyptic dystopia. I get a sense of collapse. The structure, which could be a road in the picture, is broken up by immense forces further ahead. There is also an exciting cross between the power paintings and the landscapes, small drawings carried out with coloured pen where the forces have been given different colours. Vectors of magnetic fields, gravitation, velocity and acceleration fill the image and become jagged landscapes. Physics-meets psychedelia-meets the japanese artist Hokusai.
- Anna Sandberg - Om Konst
Niki Cervin's works completely overwhelm the spectator. The meter wide canvases unfold like great saturated doomsday prophecies. Every single centimeter is used up. Sullen clouds of grey, black, orange and yellow-brown hover in front of us. Niki Cervin lets the colours pour over one another, blotting them out, but not smearing them on top of each other. From out of these clouds, unseen worlds step forward; newly made or lost landscapes. Without titles, these works become ours to fill with content. With her dystopian colours, Cervin paints a vision of the future that suggests emptiness and desolation. The dreamlike coloured landscapes speak of a different time. Small towns are silhouetted, a ghost town marked on the map. The colour drips down over the town, in between these intrusive, restless works, little pencil drawings poke out. They pop up like mushrooms in the forest. Small maps unfold. Or are they crumpling? They are maps over places, long since abandoned, where we neither can, nor wish to, go. These are drawings that illustrate lost places on earth, as well as in ourselves. Characterised by a richness of detail and delicate labyrinths, they contrast against the saturated sheets that are dripping with colour. But there is something fateful in all the pieces. The absence of reality and life is striking. Dreamily, the masses of colour float out, and take a new direction. These are traces of the thoughts and inner life of man, rather than something else. Niki Cervin's works breathe insight about something bigger and deeper. Without getting stuck, she develops her imagery. Clearly and distinctly, she continues to build on what she's started. In her majestic landscape we can probably all find ourselves. Or disappear.