Through an intricate interplay of colour fields and controlled lines, Henrik Godsk creates characters and creatures that are born in a vibrating state of in-between.
Tight compositions and an inimitable palette characterise the works in No Piano, the artist’s first solo exhibition with CFHILL.
Henrik Godsk’s artistic practice is governed by strict restrictions set by the artisthimself, a dogmatic approach that creates a space where equilibrium prevails. Even though his geometrical forms and visual language evokes references to cubism, Godsk rejects the idea that he follows a modernist path. Rather, he picks up knowledge along the road of art history, only to construct his own contemporary universe. Consistently drawing on the tension between hand and machine, analogue and digital, history and the present, Godsk uses an iconography of controlled lines and out of tune colours that travel between canvas and metal, across still lifes, imaginary portraits, interior paintings and sculptures.
Growing up in a travelling fair he learnt the craft from an early age by painting signs and facades. His academic training focused on literature and art history, subjects that along with music still form a major part of his inspiration. Autotune, rhythm, melody, searching for harmony and being out of tune are all musical concepts that
reoccur throughout the oeuvre of Godsk – also reflected in the exhibition title No Piano which refers to stillness and silence in a wider perspective.
No Piano consists of 15 oil paintings on canvas and 3 metal sculptures, entirely new works created during the pandemic inspired by feelings of the unexplainable and the uncanny. With the recent and horrific turn of events in Europe, trying to maintain order in chaos through art becomes even more relevant as an artistic
strategy. By exposing the process of painting through his works, the constructedness of both art and life is put in the spotlight, a leitmotif to guide the understanding of Henrik Godsk’s practice.