Emma Lindström currently lives and works in Gothenburg, Sweden, but occasionally branches out to the French Pyrenees.

At first glance Emma Lindströms ductus can be characterized as abstract. Her approach corresponds with the artistic technique of the American painter Jackson Pollock, which is based on expressive gestures. Acting around or above the canvas, the work process becomes part of the artwork itself and is able to manifest energy and emotion. The élan that flows in and trough her while creating can later be absorbed and revived by the spectator, in a place beyond visual sense. Using techniques like Drip- and Fluid-Painting, Lindström draws on impulsive aesthetic decisions and guided coincidences to create explosions of colour, which occupy the entire space of the canvas and partially continue on the frame. Denying perspective, spatial order and a leading motive her work stands in the tradition of the All-over-painting. The term was first used by art critic Clement Greenberg in his 1948 essay “The Crisis of the Easel Picture” to describe the emergence of “decentralized” compositions like Jackson Pollock’s tangled layers of dripped paint.

Her work portrays nothing short of life itself. One piece offers a view of the earth as seen from above, and another the universe as seen through a telescope. Yet another might depict brainwaves, or the very building blocks of life on a microscopic level. Even more intriguing, one single piece might offer all of the above images at once, and still more. What do you see?

Bridging the apparent gap between artist and spectator on an emotional level, as well as providing us with a visual link between microcosm and macrocosm, her work ultimately has the ability to serve as a reminder that there is something connecting us all. After all, the universe is built on energy.