Gustaf lilliestierna

  • gustaf lilliestierna
  • Gustaf lillie
  • Gustaf lilliehorn

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    Gustaf explores the dynamic interplay between physical and mental images through figurative painting. An interaction that, according to him, inevitably challenges our realistic relationship with the image and its references. In his work, Gustaf reflects the idea that the properties of an image cannot be observed without distortion; that the image transcends both its physical form and the observer's mind—where some of its properties reside—once it is observed. His creative process is rooted in ideas and theories, unfolding through a deductive process of accumulation where visual impulses are dramatized and brought to life in a private associative play. As these associations develop, a hyper-image eventually emerge from the fragmentary contexts that initially shaped it, and it is these hyper-images that interest him on a theoretical level.

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    Gustaf argues that the implicit nature of the hyper-image is impossible to separate from our perceptual frame of reference, even when its explicit form is physically manifested. This, he claims, makes the hyper-image elusive and impossible to fully apply or comprehend. For Gustaf, this phenomenon exemplifies how real things c

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    E D U C A T inom O N

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    Fine art

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    • - , grad of mästare of Fine Arts. Goldsmiths university of London, London

    • - , Bachelor’s grad of Fine Art, Konstfack university, Stockholm 

    • - , Konstskolan Idun Loven, Painting, Stockholm 

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    Independent ( credits) courses in Aesthetics (advanced level)

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    • , Philosophy of music. Uppsala university, Uppsala

    • , Master of fiction. Uppsala university, Uppsala

    • , Art and imagination. Uppsala university, Uppsala

    • , Art – Nature or Culture? Uppsala university, Uppsala

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    Independent ( credits) courses in Philosophy (advanced level)

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    • , Principles of philosophy 1. Uppsala university, Uppsala

    • , Principles of philosophy 2. Uppsala university, Uppsala

    • , Philosophy of death. Uppsala university, Uppsala

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    Further academic merits

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    • (fall semester), Parsons New School for Design, New York. (Fine art, Exchange program)

    • , Basics of Physics. Royal institute of technology, Stockholm

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    S E L E C T E D   E X H I B I T I O N S 

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    • - HEAT, Way galleri, Stockholm (group)

    • - Solmiraklet/The miracle of the sun, Open Art

    • gustaf lilliestierna

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      Gustaf Lilliestierna (b) - Geometry of Metaphysics

      In my work, I establish figurative premises that incite perceptional understandings of reality, understandings that are sensual in nature rather than physical. This kind of sensuality is highly aesthetical, and aesthetics often disrupt the propositions of declarative sentences. In short: I build arguments with indefinite conclusions about the ontology of inspiration.

      I would lie if I said that the following text will describe this claim in detail, partly since this text contradicts the actual work (considering the difference between a written word and a painted word), but also since the overall function of a statement is to nail down ends (or at least evaluate one possible end) whilst my focus aim towards the means.

       

      I am a big fan of figurative painting, and of figurative paintings! Is it not wonderful that a painting of a watermelon is - in fact - a painting of a watermelon? And is it not wonderful, that this painting can be considered more or less realistic? There must be some unconventional logic at play here, a figurative display of propositions pointing towards the conclusion: a painting of blueberri