SIGN
The title of the work lends itself to different interpretations.
One can for example be reminded of the types of signs and sig-
nals left by Swedish tramps on the fence posts or gate posts surrounding a house or farm that they may have visited. Meani- ngless to the uninitiated,these signs provided a clear indication as to the generosity of the property´s inhabitants , once "read" by an experienced Tramp. A rectangle containing a zigzag line for example means " Beware! Mad dogs and maniacs . Whilst a capital M means "Hard work in progress".
A crucifix means "Christians live here, behave in a god-fearing manner".The common denominator linking the signs are that as in the written language,they ar impossible to decipher for those unaware of there meaning.One must master the magic of written language before one can understand its contents.Björkroos has long been interested ina form of minimalist " Sign art" . Through the diversification of methods and materials, she has created works of art that whilst being recognisable as signs, have no specific meaning. A form of language is released through the interpretation of signs, by anyone who wishes to decipher them.
Humanity has a long held tradition of choosing to interpret the signs provided by nature . Clusters of stars were organised into groups thus forming the basis of a belief in astrology . Comets and asteroids warned ancient man of the evil times that lay just ahead.Through unravelling the chaos that is nature, and thereby using its power to his advantag,ancient man felt more confident of his place in the vastness of the often dangerous natural world. Regarding the signs on Klockarvägen its the viewer who desides
their meaning. One can hope that it affirms the artistic integrity of the landlord. One can also choose to experience the reliefs in a similar fashion as one would experience music or birdsong , a exercise of the senses without litteral interpretation.
Håkan Bull
m i s c h a b j o r k r o o s . c o m
MONOCROME REFLECTIONS
Mischa Björkroos series of monochromes merge from her preoc-
cupation with ideas of the void, the cut, the line and its tangents. Concieved within an intuitive and meditative frame of reference her work juxtaposes subtle variations with perennial themes. She minimizes explicit use of color and shape which creates a sence of serenity and reflection.Longing for simplicity and purity,
Mischa sometimes explores the possibilities of using the canvas itself as the medium, understated raw pigments enchance the white on white theme, a homogeny that is occasionally fractured by physical cutting. Both fragile and consoling, these pieces ultimately challange the viewer to reach beyond stillness and investigate the fissures. Moreover, these absences within the void allude to altered perspectives and cause us to journey into the subconscious."
John Gregory
