The Landscape, which isn’t                                                            Back

Morten Blyme is essentially a classical painter.  He masters painting in its essentiality, as a sensual adventure into the color and forms eternality.  In his works, one can literally speaking, almost feel ones way forward, yes, one is given the desire to bury ones hands in the bodily substance, which his works always embodies.

Like other good painters, he is always travelling ahead towards new targets in his painting.  He wants depth, width, and to challenge the perspective. He would shove the colors to the point where it almost hurts. In any case it is passionate.  There is always a special form of modest masculine sensitivity in his works.

Seen from a distance, his works resemble a journey toward the landscape. This is a motive with which pictorial art has tested its strength throughout many centuries.  However, typical for Morten Blyme, he goes his own way.  He reaches towards landscapes which are almost filled with totem-like forms.  And he lures us into landscapes where bizarre stone formations gather themselves, as if they were a blend of organic creatures and stiffened cliff-like formations.  

Is this a landscape from Mars or some other faraway planet in our solar system?  It could be, because Blyme’s landscapes are both mysterious and alluring and dream-like.  

It is as if his landscapes breathe quietly.  As if they pulsate with a hidden energy.  It is the landscape seen as a large warm body, in which blood veins and neural paths quiver with life and hidden waves, under it all.  It is the landscape, which isn’t.  Reidentifiable, maybe, maybe not.  And yet something special, different.  They are changed in the artist’s eyes and with the brushstroke as an indicator.  

Morten Blyme knows his color wheel, and he dares challenge it.  It is ok for the colors to be dirty.  It is alright for them to scratch into one another.  It is alright if they bleed.  It is alright to put them under the large hammer and be brought to glow and smolder.

For the artist the painting is a special type of knowledge retrieval, that brings him closer to his own emotions and moods.  There is both blues and odd string music inhabiting his valiant works as invisible guides.  

It is both haunting and beautiful.

Ole Lindboe

editor of the Magazine ”Kunst” and author of numerous art books.

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