Derfor—an exhibition including more than 80 works produced during the last three years—KOSA presents a prolific painterly inquiry into matters of process that reach beyond the culture/nature dichotomy.
The paintings in Derfor are all vertical in format and come in only two sizes. Those are their constraints, otherwise they are individual and often idiosyncratic works. Moods. Sometimes they are instances of reflection, or of humour, or reverie, plays with old figuration, plays with new figuration, lighthearted reassemblies of personal history, displays of ease! – of gesture, of colour, of brushstroke, of composition. They are whatever Leversby felt like making with painting on any given day and he was clearly having a very good time.
It is the magnitude of a prolific conversation KOSA brings forth with Dag Leversby’s work at
Krutthuset. Its outpouring inspires us to involve the paintings with our own train of thought, this time in conversation with architecture. On the walls of Krutthuset, painting is transformed into an installation of four monumental freezes. The works are assembled into tightly packed lines, two lines on each of the long walls, one above, the other below the small windows that also line those walls. The paintings face each other from opposite sides of the room, together transforming into a new situation. The fascinating impact image surfaces and space have on one another and the atmosphere affected through their coexistence is a vital demonstration, in our understanding, of conversation materiality as such. Therefore.