Excessive Impressionism


Kristian Touborg’s artistic production is best described as an oscillation process consisting of a series of repetitive painterly variations occurring over time, seeking an equilibrium between the digital and the analogue, the fragmented and the whole. In this exhibition, entitled Blood Moon Echoes, Touborg takes his point of departure in a dedication to a particular summer night shrouded in the shimmering light of the blood moon. 


As the works are constructed, Touborg refers back in time to the mysticism underlying the traditions of romantic landscape painting, in which the depictions of nature act as charged versions of nationalistic concepts, as well as his choice of methods to convey the atmosphere and essence of this particular blood moon as his central figurative anchor, aim at a futuristic desire to challenge the shortcomings of the canvas’s two-dimensional surface. While Touborg navigates this intermediary gap of artistic frameworks he transforms the paintings into sculptural artefacts of our present time in history. 


Stretched between protocols of disenchantment and re-enchantment, Touborg reclaims sovereignty over both the materials used and the two-dimensional space, as he advocates for art to be produced equally by the end of times and the beginning of times. This dance between the analogue and the digital can be found in

the fragments, as they stand as non-hierarchal incorporated elements within compositions that at first appear to be excessive and incomparable multitudes of individual materials; however, facing the works the diverting movements within the stretched canvas somehow cause the fragments to enter what might be best described as variations of contradictory symbioses – inclusive inhomogeneous networks. 

As the title of the exhibition and presented artworks refer to the echo of the blood moon, the title...

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