LITHOGRAPH PRINTED
ON 300 GR. VELIN D´ARCHES PAPER
69 X 50 CM
EDITION OF 99
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That hustle, that democratic dance, that parade which the works of Kaspar Oppen Samuelsen constituted the theater is affected by a gentle and slow metamorphosis. The boundary between the dynamic surfaces resulting from an initial disintegration of the drawing, followed by a fleeting coloring as well as an arbitrary and abstract reassembly and the most delicate line that caresses idyllic scenes, seems to become impalpable and silky. Everything is hinted at and at the same time full of its identity and the rhythm becomes cadenced and enthralling like that of a Bolero. The tree is yellow, burnt by its sun and its leaves are lost on the canvas as if the essence had already been given away by the stroke; the animal is spotted and amused; the woman is lying and vacillating—her breast harmonious; the flower kisses the cloud; the branch is the color of the sky; a child merges with a ball and crab.
The visual language is always tight, each element present in the works is in a perennial and tortuous dialectic with all the other elements in play. Each thing becomes the other, the hand becomes foot, red becomes yellow; and each fragment refers to the entire drawing, everything is linked, and everything is also left to be and to manifest itself for what it is. Oppen Samuelsen's aesthetic approach is very close to the concept of “otherness,” strongly defended by the French philosopher Emmanuel Lévinas for whom the relationship with the other—in this case Lévinas refers to the relationship between two subjectivities—can only be explained in terms of a communication that lets him be other, indeed it is in the magnificence of otherness that the mystery of life resides. What makes this conception interesting in Oppen Samuelsen's work is the extremity of this concept of otherness as it refers to all things, to all the ways in which being manifests itself.
- Domenico de Chirico, Milano April 2. 2021 (Translated from Italian to English by Vashti Ali)
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