Dark Adaption, 2007, Beads & Wire

Isha Bøhling considers her paintings an archeological process of constant excavation. Repetitious and rhythmic forms increase and decrease in scale and colour.The paintings evolve as some natural law of mathematics takes over. Patterns merge, multiply and mutate, like a plant or a virus, like life itself continually evolving and eating away at the landscape as it looks for new territory.

Seeing her art as ‘fragments of something bigger’ the significance of things becomes almost redundant. Beyond the observed lies the observer also being observed. Like a nested set of russian dolls or of pixels on a digital screen continually changing. Representations of self similarity as in chaos patterns. The outcome is a landscape of infinities

Where the larger paintings address complexity, the miniature paintings and the sculpture take on a more reductive approach. Instability is suggested through the handling of paint and fragile materials, be it wax or beads. However the laminated wood panels give an objectness to the paintings.
The small scale is somewhat anti heroic as if to question the heroic tradition of art making.

For Isha Bøhling it is about being at the threshold of the knowledge of what the 'bigger picture' is but never actually seeing it.

Nebula, '07, Acrylic on Wood, 20x10x3 cm