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The central positions given to the fragment in Widenfalk's
works may be connected to his archeology studies at the
University in his home town, Uppsala. Archeology moves
through object related epoches - each other remote, at least
in time - where scattered findings of man-made objects and
tracks form the basis for systematic guesses about ancestral
behaviour - physical and mental life. In this activity,
ready answers are seldom given. The same applies to any
confrontation with the fragments in Widenfalk's art. He uses
these in some way as hints the yet unknown in the expected
known. The fragment is there to express something of the
eternally imperfect knowledge of ourselves. Through
fractures of bodies and objects, he builds a world which
doesn't only present itself to us as observers for insight
and penetration, but also mirrors the lack of absolute and
exact meaning in the real world.
Previous
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Assisted by Queen Silvia, King Carl
XVI Gustaf plants a Tree of Life in Widenfalk's garden. |
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Assisted by Queen Silvia, King Carl
XVI Gustaf plants a Tree of Life in Widenfalk's garden. |
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