Epifanio
Epifanio 1 Epifano 2 Epifanio 3 Epifano 4 Epifanio 5 Epifanio 6 Epifanio 7 Epifanio 8 Epifanio nr 9 Epifanio nr 10 Epifanio nr 11 Epifanio 12
Epifanio 13 Epifanio 14 Epifanio 15 Epifanio 16 Epifanio 17              
All kinds of feedback is welcome. CONTACT: augustkunnapu@gmail.com
800

Eestikeelsed artiklid

EDITORIAL

EPIFANIO RECOMMENDS

RARITIES IN MY RECORD COLLECTION
Rhythm Doctor

A FEW WORDS ABOUT DIGITAL GRAPHICS OF SINDY ILVES

FIELDS AND OPPORTUNITIES
Mait Vaik

PORTRAIT OF AN ARTIST. JUKA KÄÄRMANN
Mehis Heinsaar

INTERVEW WITH JÜRGEN-KRISTOFFER KORSTNIK
August Künnapu

SHAKING OFF THE SHACKLES OF PREJUDICES IN ART
Vilen Künnapu

LIFE AND WORK OF KALJO SIMSON
Helen Kooviste

INTERVIEW WITH JAMES JOHNSTON
Harry Pye

TEAM

Fields and opportunities

Ühel päeval

One day

The works of artist Sven Stamberg are first of all and without a trace of false shame characterised by conceptuality. The fact that there is so much of it and that every image, sign, line or dot is there for a purpose, made me think and caused awe. Primarily the series of graphic art “Fields and Opportunities” in the current writer’s poetry collection “Everybody is Always Right”, where the deeper meaning was made clear thanks to Stamberg’s oral help. He nevertheless did not interfere in fitting the sheets of graphic art and poems together. Later, however, the compatibility of texts and illustrations produced fascinating and mystical associations. Curator Erkki Juhandi recommended Sven as a designer, repeatedly emphasising – I did not at the time really know Stamberg’s work – that he was the best, the one and only. Where Juhandi got this almost revelation-like conviction is a secret as well. He probably knew the spiritual similarities of Stamberg and myself, and this was and is true.

Väljad ja võimalused

Fields and Opportunities 2004-2006

The book is not merely a collection of poetry, but a poetic-graphic work, where pictures complement the text and hopefully the other way round too. What matters to me most is Stamberg’s Christian background and approach, where a few lines turn into Trinity, a few dots become human love and relationships, tragedy and resurrection, and some of my lines refer to the Holy Scripture or a theologian’s reflection. Erik-Sven Stamberg is certainly a Christian artist. I stress this knowingly and even irritatingly at a time when faith or Christianity itself are at best old-fashioned. Where art for the sake of art is about to exhaust itself or is at least dubious in this world at the moment. Stamberg’s narratives always contain power and a deeper meaning, in addition to the visual there is a story and a background. Structurally, I even notice similarities with architecture.

Stamberg’s methods of work, in my modest understanding, are archaic and time-consuming. The role of handicraft is crucial, both in graphic art where the viewer expects a computer or modern technology to be involved, as well as his later collages made by cutting and gluing, not using Photoshop. The work is then photographed-scanned and multiplied. These two technical interferences add an essence of randomness, the choice of paper and the work’s final quality matter a great deal too, they are essential parts of creative work. Invisibly to the viewer, but the more firmly, time and thoroughness hidden in creative work are clearly reflected.

Stamberg. Ulgumerele Stamberg. Rajonismi võimalused
To the Open Sea The Possibilities of Rayonism. X

For me, Stamberg as an artist is searching and finding harmony and clarity, a kind of religious purity, strange and metaphysical brightening, always upwards. Besides the narrative, the latter are indeed the artist’s main trumps, a starting point typical of Stamberg only, evident in every work and is recognisable. His graphic art contains fewer waves or curves, whereas in collages rings occur already in the material and there is more fluidity. Be it a detail from someone’s picture or a postcard, an extract from a book or an old photograph. Like on the cover of the current author’s collection of short stories, “The End of a Working Day”, where the enlarged garden or gate decoration in the illustration forms the sign of number eight or infinity. The above may well give the impression that Stamberg is first of all a serious artisan who values eternal traditions, whereas paradoxically, the group Liquid that he leads is among the most unconventional artistic groups. The group relies primarily on man’s creativity and the need of creative work, satisfying this in whichever way possible. Either physical work or a happening, meetings of the group etc. The members’ professionalism or correctness of expression is the least of their concerns. The academic stands next to amateurish with emotions of a moment and last second spontaneity. An upright nail in a block of wood can also be viewed aesthetically, and if to add that this is a sun-dial, we already talk directly about applied art. However, I dare say Stamberg’s own work always has a much deeper prologue and epilogue. The claim that art and beauty save the world, could also be Sven’s credo, even more – any kind of creative work saves the world – but in Stamberg’s case there are always additional questions of where do such notions and meanings like “art” and “beauty” actually come from and why should anyone save this world. Or from whom or from what it should be saved. Those who blindly believe and promote this thesis could do well to occasionally ask themselves this question.

Liikumised

Movements

Sven-Erik Stamberg

Sven-Erik Stamberg

Stamberg leaves no white patches you could sneak past, and this makes his work totally believable and true, something that stands beyond art itself or next to it.

Mait Vaik
writer

Collages and graphics:
Sven-Erik Stamberg