Ferdinand Ahm Krag

Ferdinand Ahm Krag invites the viewer on a journey into a psychedelic universe of coloured lines. Myriads
of lines. His drawings are formalistic and abstract, but still they tell the story of the great world around us and within us.

  
First a line, then another, and then one more
FERDINAND AHM KRAG Untitled, 2008, Courtesy Anders Sune Berg

With cheap BIC ballpoints Ferdinand Ahm Krag gives the white paper an endless number of lines in strong colours. The lines weave in and out of one another, fracture, change direction and become part of complex compositions with circles, triangles, and rectangles. The many lines gather and make dense musical and architectural landscapes rise from the two-dimensional surface of the paper.

  
Making the invisible visible

In his drawings Ferdinand Ahm Krag visualizes what we sense and feel, but do not necessarily see with our eyes: the movements of the wind, cloud formations, sound waves, particle flows, the rhythms of music, streams of consciousness, breathing, and the beat of the heart. These energies are hidden at the surface level, but are extensions of ourselves and are a natural part of our surroundings. The subject is abstract, but the artist makes it specific by taking his point of departure in specific experiences such as a piece of music or a bicycle ride through the city: “When you move through the urban space you sense a whole lot of different rhythms, and these rhythms interfere with one another. Everything interconnects and creates this very fine, dense, fibre-like materiality of energy flows.”



FERDINAND AHM KRAG Untitled, 2009, Courtesy Anders Sune Berg

  
The horizon of consciousness

Ferdinand Ahm Krag himself describes his working method as a meditative process that shifts his state of consciousness. Line on line, he draws his way to the motif. Small random events in the process, for example a slant in a line, open up avenues for the evocation of the microscopic space of the drawings, scaleless compositions, and geometrical patterns. According to the artist himself the many compositions can be compared to the intensity of the psychedelic experience: they are concentrated spaces where many impulses join together in one and the same motif.

 








 

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