Skogen i Mig, Bildmuseet Umeå, 2014
Excerpt from the exhibition press release:
”Människans relation till skogen är temat för Per Enokssons installation utanför Bildmuseet. Verket förenar hans intressen för konst och design och består av ett bygge av trä och textil med inslag av ljud och ljus. Skogen i mig speglar en längtan efter ett enklare liv närmare naturen där de dagliga valen reducerats till det allra nödvändigaste. Stadens brus slutar vid en upplyst skylt och en spång tar vid som leder djupare in i skogen.”
Verket är producerat med stöd av Umeå2014 och Kulturkontakt Nord.
Målningar, Eskilstuna Konstmuseum, 2012
Excerpt from the exhibition press release:
”Ett ofta återkommande tema i Enokssons bilder är det tudelade förhållandet till kärnfamiljen och den förväntade lycka som förknippas med den. Han beskriver ett normerat vardagsliv som i hans verk tycks bli en iscensättning och en fasad för sökande och förvirrade individer. De trevliga och välskötta hemmen döljer mörka hemligheter för ovetandes grannar. Svårigheten att kommunicera, klyftan mellan det nutida och det förgångna är ständigt påtagligt. Här och var i teckningens finmaskiga nät av berättelser uppstår dock en vilja till samexistens. En slags röntgenplåt av individens känsloliv öppnas för beskådning.”
Vårbestyren, GAD - Galleri Alexandra Dyvi, Oslo, 2012
Paintings, Derek Eller Gallery, New York, 2009
Excerpt from the press release:
”In his work, Per Enoksson creates a modern twist on the traditional patterns and motifs of his ancestral heritage. Born and raised in Tärnaby, Sweden into a family working with traditional Sami handicraft, Enoksson’s aesthetic is strongly influenced by the Sami arts intrinsic to this region. This is evident in the two large-scale paintings on view, where the figures, geometric fields, and minimal symmetric shapes of the Sami tradition are abstracted and integrated into contemporary narratives. The ambiguous landscapes that result are imbued with a desultory magic in which contradictorily depicted characters and forms interact.
There is, despite the inherent humor in his work and the cartoon-like quality of some of his renderings, something deeply disturbing about Enoksson’s imagery. The works confront the viewer with discomfiting juxtapositions that illustrate a struggle to create continuity between shifting cultures and inconsonant eras.”
Ultrasonic International III, Elementary, my dear Watson, Mark Moore Gallery, Los Angeles, 2008
Anders Bojen & Kristoffer Orum (Denmark), Brian Bosworth (USA), Walpa D’Mark (USA), Damien Deroubaix (France), Per Enoksson (Sweden), Brian Getnick (USA), Christine Gray (USA), Philip Gurrey (UK), Lia Halloran (USA), Peter Lamb (UK), Olivier Millagou (France), Jered Sprecher (USA), Villeroy & Boch (Netherlands), Matt Wardell (USA)
Excerpt from the press release:
Mark Moore Gallery is pleased to present the third installment of our annual Ultrasonic International show. This year we have dispensed with a strictly linear thematic approach and instead will present a group of artists that we feel reflect a certain zeitgeist worthy of attention. After another twelve months of sleuthing the art world, we have selected and brought together sixteen promising artists, from the local to the international, whose work reflects a certain notion of “back to basics”. Each of these artists, irrespective of materials and production, address the personal via a poignant reflection upon various and varying issues, which to them are close to home. They present art making as an investigation of individual obsessions and intent, which deals with theoretical positions but never at the cost of their own cognitive decisions; they prioritize their own interiorized concerns. The results of such introspection range from the abject to the celebratory, but fundamentally these sixteen artists are all detectives of the Self.
On the Earth You Play, Derek Eller Gallery, New York, 2007
Excerpt from the press release:
”Enoksson’s creatures combine with their landscapes so that horizons, mountains, built structures, abstract forms and geometrical patterns intertwine. A house can be both contained within a person and hold a person inside itself. In this way, every image is animate, folding over or into itself to reveal it’s own complexity. Nature plays a dominant role as subject, obscuring the line between the built and the natural form. There is, despite the inherent humor in his work and the cartoon-like quality of some of his renderings, something deeply disturbing about his imagery. The works confront the viewer with discomfiting juxtapositions that illustrate a struggle to create continuity between shifting cultures and inconsonant eras.”
The Moderna Exhibition, Moderna Muséet, Stockholm, 2006
A Cloned Line, Milliken Gallery, Stockholm, 2006
Excerpt from the press release:
”…Per Enoksson uses contradictory combinations of materials. He often integrates “modern” materials such as plastic, party garlands, varnish, and wood replacement linoleum flooring in his paintings. The artist builds up his canvas in different layers and surfaces – a method similar to a scientific sample of an earth-layer showing different stages in process of decay. The transparent varnish spreads out as a crust over the motive and illustrates a difficulty in balancing a contemporary life in relation to it’s past. In Genetics Between 7-11, one notices this composition in layering of materials. The artist comments and returns to a dark past in Swedish history – the racial discrimination of The Same people. The phrase “Genetics Between 7-11” refers to an arbitrary judgment. From Per Enoksson’s painting appears a modernity relating to a history.”