Written by Amy Simon, and published in LOFT The Nordic BOOKAZINE Volume #15
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SWEDISH ARTIST,

FREDRIK SÖDERBERG

Dungeons and Dragons. Lord of the Rings. Religion. Magic. From boyhood fantasy to adult philosophy, Fredrik Söderberg’s journey is an ongoing one. His interests have become his life. The attention to his art is similar to the crafting of the perfect question. But alas, even the perfect question may not have an answer, but must be followed by the next perfect question. Fredrik’s concentration and sense of control when ‘performing’ his art is part of his quest into the path his life should follow. A given is his talent, which he channels into his extremely complex drawings and watercolours.

Fredrik Söderberg wanted to be a professional military man when he grew up. When asked why, he said it was because of the uniform. Here the focus on the visual aesthetics was already in play as a small boy. Obviously, this dream was not long lived, but his interest in music began to take over, until he was both told and realized that this was not where his real talent lay. But his early comfort with art, as both a viewer and creator, was something that was present in the background for a long time. It was when his social extra-curricular activities collided with this very comfort zone that he begin to realize his true priority. By making figures for his role-play, Fredrik Söderberg’s interests and passions came together creating a new outlet for an ever-searching young man.

Although beginning his formal studies of art at Konstfack in Stockholm, Fredrik Söderberg feels that his real-art-world education began when he was exposed through his multiple-tasking job at Magasin 3 in Stockholm, where he worked for many years. It is there, he says, with his exposure to how the professional art world functioned, that he gained so much. By working with international artists, hanging, installing, constructing, problem-solving, along with the everyday tasks of making a public exhibition space function, he learned more of what he needed to know than his formal art education had ever taught him. In this intellectual environment, all and only about art, Fredrik was able to explore his own ideas, needs and direction as an artist in the making. Although he feels that Sweden is a good place to work in, the notion that as an artist he can isolate himself in Stockholm is not accurate. Extensive travel and exploration of different cultures are essential to Söderberg’s understanding of himself and his work. He knows that these influences are needed alongside his introspection, so that his work will have more meaning for himself.

His journey through spirituality and life, as reflected in his work, is extremely personal. That being said, it might be surprising that Söderberg also teaches art. Here, his philosophy becomes somewhat more basic. He feels that as long as he has reached someone, connected and helped them move along on their own path, then he has done a good job. That, along with external factors, not excluding financial, are the rewards for engaging in the next generation of artists produced in Sweden. He also feels that his own experience in art school can assist in his method – what is important, and what is not.

As a consumer of culture, Fredrik’s interests reach back to older works. Visiting museums, such as the Victoria and Albert in London, is one of his favourite passions. He feels that the museum itself is also an object to be looked upon, deciphered and appreciated. It is there that he understands the conviction of ‘keeping things safe, forever’, a belief that he takes seriously. He receives inspiration from the works, as they reflect upon the times in which they were made. The subject matter, techniques and resulting art are important references for Söderberg as an artist.

An example is clearly seen in a work from 2008, Green Ghost, the fundamental elements of formal composition are there, which go back to Söderberg’s desire for mastery within his work as well as the ethereal quality that allows the mystical to enter into the dialogue of the images within the frame. At first glance, the harmless beauty of the piece overshadows the symbolism being offered for further insight. The beauty and harmony in which Söderberg reveals his subject, often alludes to a much milder concern than that in which he is allowing himself and his viewer to perceive if they choose.

The actual craft, or handiwork, is also a very important aspect for Fredrik. He says that the catharsis that he undergoes while working is a time that allows his brain to disconnect, the physicality of making the work taking over completely. Time being the important factor here, as the artwork produced is so meticulous that the concentration and control needed to accomplish his pieces are a wonder. He describes these periods as meditative, his brain ‘dreams’, while his body takes over the task of making the physical work.

The emphasis on control is an important topic mentioned in several categories by Söderberg. By the controlling of time, space, imagery, medium and purpose, as when working, he produces a work in a block of time; the process is known, mapped out, so to speak, and then it is finished. In comparing control to meditation, where a period of time/ space is set aside, to enter another aspect of oneself, he leads one to believe that the work serves a great meta-physical purpose for the artist. Fredrik describes himself as a restless person. His need for security comes through his strong work ethic. The decision to create in media that demand absolute self-possession fulfils the demands he places upon himself. He likens the making of his art to ritual.

The subject matter that Fredrik repeatedly investigates has changed with age. His queries are more serious now than before, and he foresees that they will become even more so as he experiences more in his own lifetime. He feels that his art, like himself, gets better with age. When asked about the idea of an artwork as a representation of not only concepts, but of who the artist is, and how he is either revealed or perceived by others, Fredrik replies: ‘The art that I make has a direct relationship to who I am, just as easily as the clothes I wear.’

He accepts the fact that he lives in the real world, and he is not immune to the opinions of others, although their effect is relevant only in relationship to being a part of society, but not in his direction as an artist. He speaks about responsibility outside of his art. It is here that it is evident that his dedication and choice of profession suits the man, and vice versa. He describes his outlook, and life as 100% artist. It is in the ‘free zone’ that Fredrik Söderberg feels the importance of art lies. Here, where there is no function placed upon it by society or for that matter a moral. This is where art lives for him. It is also here, one can surmise, where Fredrik lives his life, and does not just make objects.

His constant interest in the East, its philosophies, and Buddhism and Hinduism are especially present in his complicated geometric works. The Mandela is a symbol that he refers to as content and also as format. Which brings Fredrik around to the concept of Magic. His fascination with magic is deep rooted; he says that it exists in a place all its own, swaying somewhere between the worlds of the narrative and conceptual. It is here, in the region without words, he feels magic lives. Asked if he is a religious person, Fredrik adamantly, and without hesitation, answers yes. And yet, pinpointing that religiosity isn’t as easy. Not unlike his art, his beliefs are also made up of questions. The spiritual path he is travelling appears to follow his artistic one. As if the two are almost one and the same, and his creative process is a manner of concretely moving forward towards some, as yet unknown, goal.

By using his artwork as a tool on this voyage, Söderberg is enabling himself to push his boundaries beyond those that only affect his everyday life. He uses the term ‘therapeutic’ when describing his working time and environment. In the tranquillity, of his own making, he removes all that is social and involves what he considers his ‘subconscious’ to play a role in his creativity. He has the need for peace and quiet, and it is here where he discovers his lifelines, or self-psychoanalysis that he regards as
essential to his work.

Getting down to basics, a discussion regarding the concept of ‘happiness’ incurs. Does Söderberg consider himself ‘happy’? Notwithstanding his current success, he takes a moment before replying, ‘no’. He explains that he is a pessimist. Quite contrarily this doesn’t seem to have a negative effect on him, as he feels this attitude is vital to his making art. He feels that ‘If I was happy, it would take away the drive’, and it’s this drive that he considers to be one of the motivations for his continued search for his elusive happiness. The quest, the journey, the beliefs, are all part of what it is that makes Fredrik Söderberg utilize his artistic talents and process, to reach his unknown goal. His aspiration and grail keep on changing, becoming simultaneously more and less elusive as his life changes. Ultimately, how will he know when he is finally there?

This article was published in LOFT The Nordic BOOKAZINE Volume #15. It was written by Amy Simon.