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Even at this time, Widenfalk was keenly interested and engaged in religious ceremonies. Having a father who is a minister in the free-catholic church, he was to assist as an altar boy during his childhood. Later, he became interested in a number of ceremonially inclined religious communions, there within everything from free masonry ordination to rites derived from Egyptian mythology, and theosophy. Common throughout these groups is, among other things, the use of symbolically charged objects, as means for the different ceremonial rites, and important as guides towards spiritual awareness. And it is this object related, ritual factor, which Widenfalk has brought into art, though so profoundly generalized that one can merely sense the mental processes, evoked by the fragmented archetypes' subtle suggestions. |
While growing up, Widenfalk came to spend every summer in
southern Härjedalen, where he encountered not only folk
art but also the stone. The part of this county known as the
Älvros-belt is where much of the Widenfalk family has
its roots. His brother, a schooled geologist, helped him
gain full awareness and knowledge about the stone. After
years of wood-carving practice, the stone became his
principal medium for expression, and the material, which
initiated his artistic direction by the end of the 70s.
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